SteveM

Upcoming Nanka Tōken Kai Meeting this Friday (September 12th). Club sensei Mike Yamasaki will be discussing kinkō fittings. Meeting starts from 7:00pm at the Japanese Cultural Institute of Gardena. Feel free to drop in, even if you are not a member - there is no charge to attend the meeting. But if you eventually decide to become a member, the annual membership fee is $45. This meeting will be about fittings, but feel free to bring a sword along if you have one. I will be at the meeting as well, so if you have any documents or items with Japanese writing on them, and you would like to know what they say, I will be happy to take a look. Japanese Cultural Institute Gardena Valley JCI, 1964 W. 162nd Street, Gardena, CA 90247

There's nothing on the other side of that habaki? I can only take a guess at the meaning (employing a superficial word-for-word translation, which are usually wildly inaccurate). The ringing of the steadily-pounding hammers And before me Like autumn clouds The water (mist?) rising from the white-hot metal But...it doesn't seem very poetic, unless its a bit taken from some classic text that I don't know about.

It not so much an implied sound, rather its a definite ハ after 夜, thus giving that first line 5 syllables. 秋の夜ハ　 Aki no yo wa 唐まで月の Kara made tsuki no 外と又 Soto to mata

Then maybe the very last one is 部 (something like 情報部)?

I think the collaborator is indeed Murata Kōkoku. I'm looking at some of his seals, and he's got one very similar to the one on this scroll. (see below and at http://inkan-search.net/search/detail.php?id=50 ). The content of the text... a bit more challenging. I can only pick out words here and there, and these without much confidence 香、都、京、時

Pretty close. The address on the card (Shiba-ku, Takanawadai-machi #32) isn't there anymore, and it is now located somewhere in Minato-ku Takanawa 1 (near Takanawa Gateway station). Must be a really old card, because the phone numbers haven't looked like that since early 1960s, maybe? I can't read any of the handwriting. Maybe the 3rd is 石 (stone) and maybe the last is 卸 (wholesale).

This one (below) is the one that made the sword in this post. Sakai Katsutoshi = Sakō Kaneshige. Sakai Katsutoshi is his birth/real name, and his swordsmith name is Sakō Kaneshige.

I found this on Yahoo JPN. From the auction listing: 八百萬圓　嘘 山僧模寫 呼五萬圓 牧谿達磨 Pay 8,000,000 yen for a fake mountain priest to draw you a copy When you could have paid Mokkei himself 50,000 yen for a genuine Daruma drawing It's a satirical comment on the stupidity of man. Mokkei is a famous Chinese artist from the 13th century (Muqi). https://en.wikipedia.org/wiki/Muqi

Address is Hiroshima city, Asahi machi, Group 21 廣島市旭町二十一組 Next to that is a name ISHIMAE something-matsu 石前囗松　 Maybe the name is Sanmatsu (参松), or Hikomatsu (彦松) or something like that. Asahi-machi was about 3kms from ground zero (red circle in the map below). I'm not sure what "group 21" is. Maybe a neighborhood association. No need to worry about radiation. Most of the fallout would have dissipated (decayed) by now. I don't think there is anything left for a Geiger counter to react to.

I think its a great collection, too. And apologies for always zooming in on the kanji, but I do love the challenge of deciphering these - even though my success rate is probably 50/50.

Top one I think is 独露 (same meaning). 徳 seems like a typo. (In Japanese, the phrase is 万象之中独露身) The bottom one, I'm not sure of, but it doesn't seem like 独露. I'll wrestle with it a bit. Maybe someone can confirm or deny while I'm chewing on it.

Since the OP asked about sword production shutdowns, @Bruce Pennington what's the latest dated WW2 sword in your records? I think there have been a few from June in 1945, and maybe one from July. Is my memory correct?

Ohmura lists an arsenal smith named Yoshitada (義忠) who won the "Chairman's Prize" in the arsenal smith category in 1944. http://ohmura-study.net/025.html

Bellflower in circle 丸に桔梗 https://irohakamon.com/kamon/kikyou/marunikikyou.html

兼綱 Kanetsuna

聯隊将校團 = Regimental Officer's Corps The recipient looks fine to me.

The inscription is 濃州関住後藤兼廣作 Nōshū Seki-jū Gotō Kanehiro saku (Made by Gotō Kanehiro from Seki in Noshu province) Don't worry about restoration or polishing or sharpening. The potential to ruin the sword is too great, and there will be no value added to the ensemble by making anything shiny. Beware of hucksters and self-taught polishing enthusiasts with a YouTube channel, who try to convince you that polishing swords is totally doable with ordinary household tools and products you can get from Home Depot. Maybe you can clean up a leather-covered scabbard, or very gently get some dirt out of the crevices of the tsuka and the fittings, but, honestly, I would leave the whole thing alone and resist the temptation to do anything. WW2 militaria is best left looking like it was from WW2. Swords require specialist knowledge and materials. Arsenal blades are a different subject, but I would still refrain from doing anything other than oiling them. Not sure about Hoppes #9. I'm sure there are a few on here who can comment on that.

As they say; It's a marathon, not a sprint. The journey comes with a never-ending series of revelations about just how little you know, and how much remains to be mastered. So, "fluency" is one of those words whose definition seems always just out of reach. Memorize hiragana and katakana. Usually in that order, because that is the way Japanese kids learn written Japanese, and that usually provides the best foundation. But some people choose to learn katakana first because they feel that will give them more immediate benefits if/when they visit Japan. Either is fine, as long as you learn both and don't get lazy, and recognize that hiragana gives better gas mileage than katakana. There are only 46 characters in each alphabet, and some are similar, so its not such a daunting task. Start to memorize the fundamentals of kanji when you've got hiragana and katakana more or less mastered. Stroke order, stroke direction, construction, balance, etc... You don't need to memorize all 2000 at one go. University students will know upwards of 8000-10000, but many of those are single-use kanji, or specific to a particular branch of the sciences, and not particularly useful in everyday life. The point is, learn them as you go, and don't worry that you only know 50 or 100 or 200...you'll pick more up as you go along. Start speaking as soon as you are able. Get a tutor or a mentor or an online partner, or youtube tutorials, anything. Speaking is a different beast than reading and writing, but each supports the others. Before long you realize that things like hierarchy and politeness are hard-coded into Japanese in a way that they are not hard-coded into English. It isn't necessary to nail down all of these nuances right away, so don't waste too many brain cycles trying to complete all of these side-missions. It's enough to be aware that the language has politeness levels imbedded into it, and as you become more proficient in Japanese, you can start to get better at using the correct/appropriate language for the audience. If you try to figure out everything all at once, you won't get anywhere. The language of the sword/fittings world is a specialized field. Don't expect the average Japanese person to understand the vocabulary of the sword world. Its full of jargon and rarely-used kanji and specialized readings...etc. It adds a complication to your Japanese studies. It's like a beginning English student trying to understand the language of nuclear physics. It just doesn't happen overnight, or without a lot of specialized study. Took me one year to become marginally conversational. Took me five years to become barely literate. Took me twenty years to become "fluent-ish". I started diving deeper into Japanese sword/fittings vocabulary after about 25 years, and realized I didn't know diddly squat. From there, each incremental bit of knowledge added to my ability, and made me slightly more fluent. I have N1 and a translator's certificate. I got these fairly quickly, after about 10 years of living in Japan. But really, its only after I got these things that I realized how much I had yet to learn. Still running the marathon...

My impression was that the whole thing was the single kanji 製 (manufacture), scrawled on the tiny real estate of that locking clip. The wayward strokes are just the slip of the utensil used to do the scratching. No idea of the significance, but feels unlikely (to me) that it would be a name.

The artist is Sumiyoshi Naiki Hirosada (1793-1863) (aka Hirotsura). The theme looks like the God/Myth/Legendary figure Takeuchi-no-sukune holding the baby Emperor Ōjin.

Well, I'm not very capable. These haiku (and waka, etc) are relatively easy because most of them are on the internet somewhere, so I just have to identify a few words or phrases and the search engine will do the heavy lifting. Also, I lived in Japan for 30 years, so that gives me a pretty good base to jump from. If its just a page of medieval script with no context, it can be tough, and sometimes impossible, for me to decipher.

I had not known of her before this thread was started, so for me it is a new discovery also.

吹け吹けと　花によくなし　鳳巾 Fukefuke to Hana ni yokunashi Ikanobori When the wind blows It is good for kite-flying But not so good for flowers

@Iaido dude I saw this one from Tesshu on your other thread, and I'm sorry to say it completely defeated me. I wish I were a kuzushi-ji expert, but I'm just a beginner: a toddler just dangling my feet in the wading pool. Tough to find a kuzushi-ji mentor here in the states.

@Charlie CI'm reasonably sure this one is 留主.