Ray Singer

I am fairly sure you can see some accumulated "something" in the hi. Wood fragments, particles of some kind, etc. Would seem to preclude this being an illusion of the camera. I'll shoot an email to the seller to see if they can confirm either way. Best regards, Ray

There is no separation visible within the mekugi-ana. The inside lowest point of the channel also appears to be visible. It seems this may have been an aesthetic choice? Likewise, look forwarding to hearing if anyone else has ideas or has seen this feature before.

Certainly looks to my eyes like a channel has been cut into the nakago mune. Not something I have seen before. Creativity on the part of the swordsmith? Best regards, Ray

It did not take long to return to the site as a consignment item. http://www.aoijapan.com/wakizashi-mumei-atttributed-as-norishige-2

A copy or not, what an extraordinary thing to find framed in a thrift shop. A well done piece regardless.

友 tomo

See below for a photo of the kitae-ware I referred to. The Yukihira is pretty close to perfect, my question is more whether this is perfect for the buyer's needs. Depending on what kodogu are selected and the cost to craft the koshirae this endeavor could easily be 1,300,000 JPY or more. There are quite a lot of options for high quality gendaito at that price, but I will admit to being more than a bit concerned by the thought of this sword or one at that level being used for cutting. BTW, it is interesting to read the chapter on the mukansa swordsmith Ohno Yoshimitsu (New Generation of Japanese Swordsmiths) where he discusses a commission he received for swords to be used by martial arts practitioners, and how the requirements forced him to take a different approach to insure that the swords fulfilled his customer's needs. One of his swords made for martial arts usage was offered for sale at one point and it looked quite different from his typical art swords. Best regards, Ray

It comes to mind that there was a shinsakuto available at one point by the Mukansa smith Enomoto Sadayoshi, made specifically for tameshigiri. That sword has a wide mihaba, thick kasane and a longer nakago with shinobi ana. Best regards, Ray

There are several kitae-ware in the shinogi-ji, including a longer one in the kissaki area. Depending on how fussy someone is about having a perfect shinsakuto, that might be an issue. The sword looks like a very nice piece through and this smith produces excellent work. I see in your other post that you are asking whether this would be a good sword for tameshigiri. The blade has more delicate proportions. I am not by any means a martial arts practitioner, but if so it most likely would not be my first choice to use such a high quality gendaito in top (mukansa?) polish for tameshigiri. Another option would be to commission one made for that purpose and made to your exact specifications. Someone such as Paul Martin might be able to help with that process if there were an interest. Best regards, Ray

In my opinion there's a good chance that the boshi is gone. The hakobore is also severe. Based on the photos I would not consider this a good restoration candidate.

http://www.aoijapan.com/katana-mumei-attributed-as-ko-naminohira-2

Signed Yasunori and dated a lucky day in February, 1934. This is Kajiyama Yasunori (also read as Yasutoku). More information here. http://yasutoku.blogspot.com/

山城國伏見住金家 Yamashiro (no) kuni Fushimi (no) ju Kaneie

If you truly love Japanese swords then please abandon this goal to polish them yourself. There is simply no way to become a competent togishi through self education. It is heartbreaking to think of all the destroyed swords I have seen, that met their end through well-meaning amateur polishers. Ko-Senjuin, Yokoyama Sukekane, Sendai Kunikane, Heianjo Nagayoshi, etc, etc all ruined. A polishing apprenticeship takes ten years. There are no short cuts.

There is a museum I know of that received the donation of a healthy, Juyo-quality 76cm tachi with a Hon'ami kinzoganmei to Sa Hiroyuki. A beautiful sword with 8mm kasane. Sadly the blade has been allowed to rust over the past few years years. The museum does not have the budget for restoration and no longer allows individuals from outside their staff to assist with care and maintenance of the permanent collection.

The assumption being gimei (not an authentic signature). Still, as you asked about the working period here is example of different smiths and time periods where you can that mei used. http://nihontoclub.com/view/smiths/meisearch?type=All&mei_op=contains&mei=%E5%82%99%E5%B7%9E%E9%95%B7%E8%88%B9%E7%A5%90%E5%AE%9A

Bishu Osafune Sukesada. Not a well executed mei.

Your wakizashi is signed Soshu ju Tsunahiro. Best regards, Ray

Photo attached. Itame/mokume in the ji with masame along the edge is, among others, a trait of some Yamato blades (specifically Shikkake). Your sword does not look like a Shikkake though. Can we see a more complete photo? Best regards, Ray

I will take a shot. Yoshichika___ or Yoshinobu___. 吉近__ or 吉延__, possibly followed by 作. Best regards, Ray

Appears to be Kii (no) Kuni Junin Yasuhiro 紀伊國住人安廣 Best regards, Ray

An example of an early tsuka. http://www.nihonto.us/HIDARI%20KANEYASU%20KATANA.htm And a Shinkai signed with the Kunisada mei. http://www.aoijapan.com/katana-izumi-kami-kunisada-the-2nd-generation-inoue-shinkai Best regards, Ray

For reference, when the links expire.

For anyone who enjoys Bingo Ko-Mihara work (as I do), there are a large number of examples for sale at Aoi Bijyutsu at the moment. Two have been attributed specifically to Mihara Masahiro and the others have simply been papered to Ko-Mihara. Most exhibit some amount of utsuri (shirake utsuri is typical for this school), except for the two which only received Hozon. The Masahiro examples' jitetsu seems one-level tighter, I do not know if they received the smith-specific attribution due to that point. It is also interesting to see that three have Kanzan sayagaki, two of which place the swords with other schools (Tegai and Aoe). Ko-Mihara http://www.aoijapan.com/katana-mumei-ko-mihara-3 (67.4 cm Hozon) http://www.aoijapan.com/katana-mumei-attributed-ko-mihara (69.5 cm Hozon) http://www.aoijapan.com/katana-mumei-ko-mihara-4 (69.69 cm Tokubetsu Hozon) http://www.aoijapan.com/katana-mumei-unsigned-attributed-to-komihara (71.2 cm Tokubetsu Hozon) http://www.aoijapan.com/16181 (71.8 cm Tokubetsu Hozon) Mihara Masahiro http://www.aoijapan.com/katana-mumei-attributed-as-mihara-masahiro (63.6 cm Tokubetsu Hozon) http://www.aoijapan.com/katana-mumei-mihara-masahiro24th-nbthk-juyo-paper (72.72 cm Juyo) Best regards, Ray

Chikuzen (no) Kami Kurihara Nobuhide was an important smith and a 74cm Nobuhide could be considered an important find if it were authentic. Best regards, Ray