SwordStudent703

Thanks Bugyotsuji, very kind of you to say. Guys, if I do get this to shinsha and get an attribution, I will be sure to share it here with everyone, for our learning journey.

Thank you everyone for taking the time to share your expertise, references, and insights on this piece. I really appreciate the thorough analysis of the dimensions, signature styles, and the historical context. You've given me a great deal of genuine knowledge to consider. Thank you again for your time and for a very educational discussion!

Thank you all for the excellent points and the compliments on the piece! I think a sashikomi polish will beautifully bring out the full-body hitatsura that blankets the shinogi-ji! I really appreciate all your perspectives but if you allow, I will push back a little, in the interest of a good scholarly debate! While you are completely right about standard sword metrics, the 14th-century soshu masters are known exceptions to these rules: First, regarding the current size and the math of a shortened tachi: the 49 cm measurement is strictly the nagasa. As defined in Kokan Nagayama’s ‘The Connoisseur’s Book of Japanese Swords’, the habaki area and the nakago are entirely separate dimensions and are not deducted from the nagasa line itself. Furthermore, while 90 cm o-dachi were very popular during the Nanbokucho period, Fujishiro’s ‘Nihon Toko Jiten’ records that Hiromitsu and Akihiro forged shorter long swords, including ko-tachi, at around 65 to 70 cm. Taking a 69 cm ko-tachi and executing an o-suriage alteration to meet later regulations leaves you with exactly a 49 cm wakizashi. This shortening also explains the remaining length of the mei and its side placement. According to Fujishiro, when these masters made rare long swords, they signed exceptionally high up on the tang near the collar. As for the mei sitting on the sashi-omote side, Nagayama notes (p. 202) that Nanbokucho soshu masters signed on the sashi-omote side, regardless of the blade's length. While a sashi-omote signature normally indicates a later Muromachi katateuchi, that timeline is inconsistent with this blade's volcanic 14th-century o-itame grain and substantial o-kissaki. Given the physical presence of the machi-okuri, the deep sori, and the classic Nanbokucho geometry, a cut-down tachi remains, to me, the most logical explanation. Thanks again to everyone for sharing their astute insights 😊

That’s a great point Jussi. However, Hiromitsu and Akihiro signed high up on the nakago, almost near the handle collar. Also, when the blade was shortened the shoulders were moved further up. The size of the kissaki, and the overall shape and dimensions leans to it being a cut down tachi, rather than a ko-wakizashi. I appreciate you sharing your thoughts while on the train 😝

Hisayoshi is an ingenious suggestion! Thanks Bugyotsuji. My thoughts are that the blade came from a Nanbokucho tachi, I am reading that two Soshu-den Hisayoshi’s worked in the Muromachi, and later Shinto eras. So, chronologically it might not fit, unless I’m wrong about the Nanbokucho tachi. Hence my focus is on Nanbokucho smiths. Thank you very much for taking the time to share your thoughts though

Sorry here's some photos of it overall:

Photos of the Mei:

Photos of the Hitatsura:

Hi everyone, I wanted to share a fascinating piece I recently acquired and open it up to the board for discussion, and insights regarding potential attribution. The blade appears to be a classic mid-14th-century Nanbokucho tachi that has been shortened to wakizashi. It carries some prominent, active characteristics of Sōshū-den workmanship. I am preparing the blade for a full appraisal route and hope to eventually submit it for Shinsa – any information posted will not be used for commercial purposes. I would deeply appreciate your views on the smith/circle before taking the next steps. Key Blade Dimensions & Characteristics: Total length: 635 mm. Nagasa: 493 mm. Nakago: 142 mm. Yasurime: katte sagari. Sori: 15.4 mm, Torii-zori. Motokasane: 5.4 mm. Sakikasane: 5 mm. Motohaba: 28.3 mm. Sakihaba: 17.7 mm. Kissaki length: 28.5 mm, chu-kissaki with rounded fukura. Mune: Iori-mune, gentle oroshi. Hamon: Suguha-notare mix with nie-deki (ara-nie). Hataraki: sunagashi, kinsuji, jinie, chikei, uchino-ke. Hitatsura: The hitatsura and tobiyaki clouds blanket the shinogi-ji. (Looking at Kōkan Nagayama’s criteria in The Connoisseur’s Book, this steers me away from branch like Hasebe and locks the focus onto mainline Sōshū masters.) Hada: itame & mokume mix with nie-fushimi. Boshi: komaru. Hamon/Hitatsura: Deepl full-body hitatsura. In the middle sections of the nagasa, the temper tracks in a wave. However, as it approaches the kisaki, it becomes tobiyaki clouds. The boshi displays o-kaeri that engulfs the tip. The blade was shortened, but the top portion of a long-form signature remains. The location marker is cleanly legible and reads: Sagami Koku Junin... Directly below the Nin character under raking light, we can see the cler remnants of the subsequent character's initial chisel paths. I have taken specific close-ups of this area. To my eye, they do not form a flat, rectangular top cap. Instead, there are two deep, diagonal troughs slanting from right to left. This looks consistent with the left-sweeping "roof" radical of Hiro, pointing toward Hiromitsu. Alternatively, given the ō-kaeri loop of the bōshi, I am also considering the left-hand "grain" radical of Akihiro. I am uploading photos of the flowing grain above the habaki, the wave-to-cloud hitatsura, a kitae-ware lamination opening in the ji, and close-ups of the nakago chisel marks. I would love to get your thoughts. Do you see this as a viable Hiromitsu/Akihiro, or is there another contender I should be cross-referencing? Thank you all in advance for your time, your scholarship, and your insights! Best regards, SwordStudent703

The visible strokes to the right of the mekugi appears to be the bottom half of the character 兼 (Kane). The peaks of the hamon are rounded and repetitive (characteristic of the Mino tradition). The hamon shows hints of ‘three cedars’ (sanbonsugi), the signature style of the Kanemoto school. The smith likely worked in the style or lineage of Magoroko Kanemoto.

Mark is this still available?

Hey guys looking at buying this one, it is presumed to read: Masanori, is it right? Thanks

Hi Marcus, My Indiegogo shows that the Gendaito project is closed and I can't donate through that forum. Have donated directly through paypal though. Good luck with the project and hope to see your excellent work soon.

Hey Steve, Thanks for the translation!!! I don't know if the date pic is going to be that clear but I've uploaded the unboxed pic up in my original post together with some inspection stamps. Unfortunately since I don't have other pics to upload as I poached these from the auction site Sincerely!

Hey guys, Here's a Star Stamped - Rikugun Jumei Tosho gendaito that I'm considering bidding on but I'm not so sure who the smith is. Can anyone maybe help with the translation? Would appreciate any help. I've tried to translate the date inscription myself but would welcome any corrections :D Thanks.