nagamaki - Franco

First impression (non tsuba student) is that it has a Nara flavor to it ..... http://archive.fieldmuseum.org/research_collections/anthropology/anthro_sites/boone/sword_com/sword_com9.html

Basics 101 ... http://www.nihontocr...hinsa_Standards.html , and http://home.earthlink.net/~steinrl/gdsword.htm , http://home.earthlink.net/~steinrl/nihonto.htm , http://www.nihontomessageboard.com/arti ... ecting.pdf

Hi Adam, wasn't sure exactly what you were refering to. I have it in the back of my mind that there is another term at some point I came across besides muneyaki that would/may/possibility describe what we're seeing in terms of a tempered mune, but it escapes me at the moment. All part of the enjoyment of unusual nihonto features is research and discovery.

Muneyaki, articles and info in Yamanaka's Newsletters revised as well as in the series "Art and the Sword". Also, I'm almost certain the topic has been previously discussed here on NMB, use search to dig. http://www.nihontomessageboard.com/articles/Collecting.pdf Edit/add; There are two types of muneyaki and it is important to understand what the differences are as this will also lead to an understanding of how to judge quality. As far as turnback is concerned, up to the monouchi it remains turnback, once the turn back extends thru and past the monouchi it then begins to be considered muneyaki. Muneyaki can be continuous in addition to spots. Functionality, refer to references sighted above. Breakage,

Microdear cloth is strongly suggested and work great. Just make sure when you wash them you use detergents that do not have and leave unwanted residues.

Hello, At our annual study group club meetings we simply used Shop Clamp-on type light bulb holders (with probably 100 watt incandescent bulbs), one attached in front of each sword/table at a height of about 7 feet. It always seemed to work out fine. Pay close attention to space for each sword in all directions, so no mishaps occur.

Greetings all, fyi, http://www.rawstory.com/rs/2014/01/31/unusually-large-vatican-trove-shows-brutal-crackdown-on-catholicism-in-samurai-era-Japan/

Look up (search) Japanese Kiri mon. Would enjoy seeing more images of this sword including an overall profile image so that we can see the shape, thank you in advance.

Coots, http://en.wikipedia.org/wiki/Coot

Have not yet received it, however, found and ordered both sheet and a long roll of rice paper from Amazon.

Yamanaka's revised is for someone wishing to advance their kantei skills and knowledge beyond the basics. It's more of a guide for the nihonto student, rather than a how to for collecting.

"Nihonto Newsletter", by Albert Yamanaka, over 1900 pages in four volumes http://www.ncjsc.org/ncjsc_publications.htm , it's hard to go wrong having a set of these.

Strongly recommend especially for first time buyers to purchase their first sword in hand. And, yes, after you have the library to familiarize yourself with the 5 main traditions of sword making, as well as the changes in shape running from beginning to end. Otherwise, how in the hell do you even know what you like? Shows will introduce you to and open your eyes to quality swords and polish, which then allows you to better grasp what it is that you are buying and perhaps more importantly for a newbie what you're not buying. Also, there is nothing that says to be in a hurry to buy, even if you go to a show. Don't buy junk are the common words of wisdom new collectors should keep at the forefront of their thoughts.

Indeed! In fact it wouldn't be a bad idea to have a second spare habaki even made out of wood for such instances and/or events where (incidental) handling may be an issue. It only takes a split second of inattention for someone who doesn't know any better to inadvertently place an oily finger print on such a piece.

Like nihonto, it is necessary to understand the history, the traditions, the schools, makers, the development; art-composition-materials of tosogu. In each of these instances you have examples that present all of these factors to a level determined to be of historical importance in their preservation. And also like nihonto, kantei is the key to providing the basis from to which to begin appreciation. I was told by one advanced nihonto person how he was just amazed and couldn't understand why one of the most important items in a meibutsu display a number of years ago was passed by with so little attention by collectors. In another instance not very long ago an item made by one of the top names in tosogu, signed no less, sat on a show sword table unrecognized all weekend until late Sunday AM when somebody did realize and understand what they were looking at, kantei.

Would guess fittings are . Very nice.

An 1800's blade should be both signed and preferably dated. Familiarize yourself with the rules for judging .... http://www.nihontocraft.com/Nihonto_Shinsa_Standards.html

Hi Paul, if nie were supposed to be present, then while there may be areas of weakness in the nie due to being polished down, I would have a very difficult time believing that it would be absent for the entire length. Somewhere along the hamon there should remain evidence of having been there and the total lack there of suggests (at least to myself) to seek answers elsewhere. Merry Christmas All, Franco

Hello Andrew, Like so many of these things having to do with nihonto restoration the cost gets pricy in a big hurry, mainly because many labor hours go into the highly skilled handwork required. So, typically the first evalution especially when there is limited means and budget is to ask whether or not the sword in question is worth the investment of a somewhat fancy saya, wrap, and so forth? In speaking only for myself following twenty years of experience, you either have to have a pretty darn good sword and/or koshirae to make the investment worthwhile, OTHERWISE, you'll come out farther ahead simply buying something already done. It would also be very wise not to go the cheap route of mediocrity using less than skilled craftsman, because in the end you may end up with something to the untrained eye that looks 'nice' and 'OK', but to those that know it will be junk, money thrown away. And once your knowledge catches up with what you should know before taking on a project like this, you'll only look back with regrets instead of appreciation. Now, I only know of one person capable of doing everything (in the US) you're listing, saya, habaki, and tsuka and wrap with koshirae, and touching up the nakago and that's Brian Tschernega. John Tirado is certainly capable of making saya and habaki, I'm not sure about the rest. In any case these two artisans would be a place to begin a conversation about what is involved and cost after your reality check about the worth of your sword and fittings (as a suggestion). It's never easy and it's almost never inexpensive. There are many bumps in the road to negotiate. Welcome to nihonto collecting.

Seasons Greetings to All, Yes, a tight fit works to isolate the blade to perform it's function. Any looseness could result in failures. Also exactly why the mention of cutting tests with just a bare blade for emphasis. Quite amazing that such small contact areas can be so effective. It points out the skill and ability of the habaki maker, as it is not a simple feat. This also ties into the habaki being able to slip over a wide nakago. People sometimes gasp at the price of a habaki, but they are worth every dollar as so much goes into making one. The fit of all the pieces are in essence critical, but perhaps none more than the habaki as it is the piece that locks everything tight into place. What got me thinking about the habaki's roll has a fail safe device was again that high speed film and the thought that if the habaki in such a case were made of iron which is much less forgiving, there is a much greater chance of failure as any sudden surge of energy at a single point in the transfer would not be good. And if one thinks about it, of all the things to fail if failure were to occur, the habaki would probably be the best choice especially if it saves the blade from catastrophically failing. I would imagine IF this was indeed the case, way back when, the artisans would have eventually, if not quickly, picked up on the fact that blades with iron habaki suffered more failures than with softer metal habaki. Add to that end with the changes in fittings that would in time come and occurred into the Shinto period, the use of such precious metals as silver and gold in habaki making would be very much in step. Something else to consider when deciding on habaki is that while iron habaki may be in fitting and considered more appropriate with earlier swords by some, an iron habaki raises the risk of scratching as well as possible damage to the ha-machi in handling.

Perhaps, but if something needs to go because of overwhelming energy, best be the habaki, no?

Although the sword makers and samurai did not have the benefits of high speed film, they had the benefit of direct feedback in the way of broken swords and habaki, I'm sure from there they were able to figure things out.

Thank you Arnold for adding additional insight into habaki making and Brian's work, much appreciated. Touching upon this discussion of material for habaki, I would like to bring up the following point as part of this discussion for consideration, and these are my own thoughts for the most part as I have not discussed this openly before with anyone, so thoughts and input are welcome. There are records, I'm told, of sword cutting tests being performed with only the bare blade, no tsuka, no habaki. This fact indicates that when a sword cut is performed correctly the habaki itself when made correctly (a tight snug fit with zero play), plays a neutral roll and does not enter into the picture as far as the cut itself. Now, beginning from this point something got me thinking more in depth about the material being used to make habaki, particularly after watching the video of an attempt of a 'newly made nihonto' trying to cut thru a kabuto. In watching that video (high speed film), one sees the result including the amazing amount of distortion and the incredible resilience of the sword to bend and yet not break. In part for this to have to happen, something else along the line has to give in addition to the sword when it is mounted in order for the sword not to break. There has to be in a sense a weak link that works in the same sense as say an electric fuse that pops when there is a sudden over charge of energy, yet at the same time it has to have enough integrity that it stands up and performs to a high level otherwise. In the film you can see that the sword distorts and bends all the way to the habaki. If that is indeed the case, if the habaki were made of an iron (like it used to be) which is far more resistant to "giving" than a copper, silver, or gold would be, that in itself might be enough to cause a catastrophic failure. So, the use of softer metals to make habaki is quite purposeful far beyond just aesthetics.

No apology required. When I said "thanks for the insult" it was meant more as a "thanks a lot" as anything else, even though I was a bit taken back by the word vulgar. When I said "let it go" it was meant sincerely. No worries. Correct. I was asked to place a habaki image on this thread, so that people could see what was being discussed as an example of a gold habaki that was remade from one that was melted down. Unfortunately I didn't have an image of the original habaki to show the complete transition from 'not good' to something representing excellence.

So far there is nothing really personal to carry or hang on to here, no reason to continue or for being defensive. Let it go.