Hoshi

Beautiful. Could you make a front/back picture without an angle of the last Tsuba?

Thank you everyone. I just purchased Josh's copy.

This is a very interesting topic, and I apologies in advance for "thread necromancy" - I do not know if it acceptable practice on this board. I think Darcy makes a good case, which is relevant to my investigation. There is however a counter-argument that I am struggling with. Assuming the fraud was to pass as a rare and very valuable Koto-era sword. Wouldn't the buyer ask for appraisal by the Hon'ami before spending a fortune of gold coin? Hence, the goal of high-level fraudsters would be to induce Hon'ami in error, and this would require high-level work that was deliberately made to imitate and old master's style. You can't just take an "of the mill journeyman" to do this, you would need someone of significant skill. There are of course variation around fraud transactions, just as in the painting world. Some fakes are sold off feigning the urgent need for a "quick buck" - this is where greed kicks in and terrible fakes are exchanged. Other masterwork frauds go through rounds of appraisals by experts before being exchanged as the real thing. Different business models. High-volume low-margin / low-volume high-margin. Thank you

He cracks me up. This is a style of blogging you'd expect to find on a variety of other topics, and Nihontos aren't one of them!

I would also very much like to buy one in the 100-150$ range.

Thank you Jim, It is striking the similarities, even in the characteristics of the steel (e.g traces of Kinsuji). On the topic of Koto, the blade is not pure Bizen, but rather a hybrid between Soshu and Bizen style called Soden-Bizen. As I understand it, the grain (ko-itame) and strength of the blade (thickness, mass) tend towards Soshu, but the tempering technics, hamon characteristics and curvature/Bo-hi tend toward classical Bizen. You make a fine observation with regard to the Bo-hi edge. But it is difficult to judge the amount of variation in bo-hi placement in Korekazu's work as I have not seen enough examples. Jeff, I look forward to it. I'd gladly pay 100-150$ for second-hand. My current working hypothesis is that the smith (Naotane, or Korakazu, or someone else...) made multiple blades for a commission, and one was chosen by the client. The rest were left unsigned. While I don't clearly understand the economic rational behind it, apparently this was documented practice for Shinto and Shinshinto era.

Thank you Markus, This is surprising to me. I assumed immediately is was cut-shortened when I saw it was mumei and had a second peg hole. A good lesson about making assumptions. But I all comes together now, especially when you look at the habaki area and you can clearly see the start of the hamon. Thank you for the reference book. It looks excellent, however the price is daunting. I wish I could pay for an ebook version. Thank you Arnold, I know that blades by Takei Naotane were sold for a small fortune even at the time (approx 5 ryu or 20'000 coin) based on Sesko's essay on the historical prices of blades. It seems implausible, for the owner to engage in erasing a signature with the hope of passing it off as an older, more valuable Koto blade. I do not know how much Korekazu charged for his work, but I assume it was less - and he went out of business when the ban hit Japan. Perhaps this blade was crafted after the ban, when demand hit an all time low and life became for him very difficult. The argument that the signature was removed in order to pass it off as a Koto blade doesn't quite make sense to me, as the Nagako would lack the profuse patination inherent to old blades - and hence it wouldn't fool anyone. I found a very good discussion on the topic of ubu mumei on this board. One of the documented reasons that would fit to the shinshinto era is some smiths had extra blades awaiting completion, and didn't always sign them and sold them off at a discount. I can't quite make sense of the argument, but it gives us an alternative to deception. Shinshinto Ubu mumei, this is a mystery.

Hi Arnold, I agree with you that it is odd to see a Tempo blade having been shortened. Especially given that soon after, the wearing of swords became banned hence the hypothesis of a broke Samurai who had his Tachi cut in order to fulfill social expectations seems a prior unlikely, unless I am missing something historically speaking. I think it's a very interesting hypothesis, that a skilled Shinshinto smith would have tried to pass this blade as one of as an old, famous Koto master in order to survive the harsh economic conditions.

Joe, I sent a small request to Joe Forcin via his website. I wholeheartedly agree, his insight would be valuable. Greg, thank you. I highly suggest you book well in advance, and AirBnB is by far your best bet. Make sure to visit at least one of the better Onsens, and make arrangements at least four months prior to the trip.

Hi Jim, Amazing. You just thickened the mystery. Do you have a link with the attributes/descriptions of this Naotane blade? It seems intimately close too. It goes to show the breath of Naotane's work, and puts a canvas on statements such as "If Naotane, would have shown strong midare-utsuri". Hi Joe, The blade is no longer in Japan. Maybe one day I'll submit it to Shinsa, but for now I am forming my own beliefs, and taking this mystery as a learning experience to expose myself to the subtleties of Kanteisho. The intuitions of the members of this board are very valuable to me.

Neither does it exhibit the beautiful swirling grain hada often present in Naotane's work. Some of Unjyu Korekazu's (also known as Fujiwara Korekazu, to add to the confusion...) blades do seem, to me, very close. http://www.aoijapan.com/katana-sekido-unju-korekazu-seitan34th-nbthk-juyo-paper http://www.aoijapan.com/katana-fujiwara-korekazu-7th-generation http://www.aoijapan.com/katana-teme-otsuka-kazunobu-kun-sekido-unju-korekazu-seitan-saku-koreansei-5-nen-inu-uma-2-gatsu-hi The Ko-itame hada, the kissaki shape, the hamon patterns and style, the thickness of the blade and general geometry. The third one especially with its deep bo-hi, is very close.

Besides the point, but it is perhaps pleasing to see. A custom Koshirae ordered to fit the sword before I departed Japan, six long months of waiting but the chance to make something unique.

And finally, the disputed certificates. The Origami was kindly translated by a member of this board. As the name of the person who commissioned the Shinsa is still on the certificate, I have obscured it out of respect for his privacy (or those of his descendants).

And more. Tentative pictures what I think is a tight, Ko-itame Hada along with the tang. Very tricky.

Hello, I thought I'd share a story. I was this year on honeymoon in Japan, and in between two wonderful moments shared with my wife, I visited sword shops in each of our destinations. I wanted to bring back an immemorial gift for our home, and the Nihonto was the quintessential choice for me. A dream entertained since childhood, finally realized. Being a neophyte, having browsed just a few of Sesko's excellent compendiums, I set off to let a sword find me, within the constrains of my budget. I never cared much for signature, or attribution, what really mattered for me was the quality of the craft and the story. I saw national treasures, Tokubetsu Juyo swords to crumbling Showatos. And many things in between. I tried my best to hone my aesthetic appreciation, and my understanding of this immense universe. Finally, having perhaps unbeknownst to me taken advantage of Japanese politeness, I found a shop, specialized in selling swords to other dealers across Japan. The owner was sympathetic to my request, and took off time from his usual, far more profitable business in high volume trading. He arranged to show me swords within the bounds of my constrains. I am very grateful. I found one that stood out of the crowd amongst those I could afford. A beautiful, flawless blade that was cut-shortened, hence mumei. It feels strong and heavy, its design uncompromising of function. I feel sympathetic to the man who, certainly broke during the hardships of the Tempo era, had it cut to fit the requirements of his time. Worst, the two of the foremost authorities in Kansei disagreed on who made it. Hon'nami Koson says it is "as Takei Naotane" - and old Shinsa papers (probably local branch) states it is "Unjyu Korekazu". While the former seems dubious, owing to the fabrications and "acts of politeness" of the time, the latter is less questionable, but still remains uncertain due to the scandals that shook the venerable institution of the time. For me, however, it was all the better. A mystery to solve. I learned later, based on different excerpts from the Books of Sesko and various sources, that both smiths are often confused in Kanteisho. No less that three times did I find passages relating how even seasoned appraisers had been lead astray due to the similarities. The mystery thickens. I studied the common mistakes, and the absence of midare-utsuri comes out in two of them. The blade I purchased, to my untrained eyes, shows no marked shadow of the hamon. No slated hamon, or carvings that often mark - I read - the work of Naotane. Hence I have veered strongly towards Unjyu Korekazu in my judgement. I do wonder what members of this community think of this sword. Naotane, Korekazu, or does it carry the mark of another maker of more dubious motives? To the best of my abilities, I have compiled some photography. A daunting experience to impress upon pixels the majesty of a Nihonto. But I have tried. Thank you, Chris H.

Thank you so much for your help! It is enlightening. Does "see this sword just as a Naotane work" reflects a measure of uncertainty in judgement, or do all Kofuda of Honami Koson judging mumei sword use the same wording? Also, by doubtful - do you mean by that all Kofuda are doubtful, or that the calligraphy/characteristics/content of this Kufuda make me doubt its authenticity? One last point, by "Bunsei period" chronologically refers to the early days of Naotane's work. Is it meant convey such information, or is it simply a general statement on the period?

Hi Neil, I will make a thread with pictures (as soon as I manage to make decent looking pictures...) along with the story. I'm still looking for a kind and Kanji-versed person to complete the origami's translation! Is there a mention of size? date? value in coin? Thank you so much, Chris H.

Thank you Steve, Are there any other information aside from the Smith's name? Do we know which one of the hon'ami issued the paper and his reputation for the period, as well as the spread of forged papers of this sort at the time?

Hello Steve, Yes, I do. I was going to open another thread about it once the puzzle above is solved. It's an interesting story, and I don't want to spoil it just yet...

Bingo, a Kofuda. I just read the passage on Sesko's Honami book, it definitely matches. Now, the content remains mysterious...

Hello, My name is Chris, and I am new to this forum (and to this hobby, although I've been doing my reading!). I have an Origami that requires translation assistance, and I was curious if some of you could clarify what is written, the author, as well a tentative statement on its reliability and historical context. Thank you very much for your help! It is deeply appreciated. -Chris H.