nagamaki - Franco

Don't be discouraged, we all started, more or less, knowing little to nothing.

Your kantei?

https://books.google.com/books?id=ew-QBwAAQBAJ&pg=PA137&lpg=PA137&dq=uttori+gold+technique&source=bl&ots=lk1hfntcPe&sig=ACfU3U2MNEqKcvkhs4oE2SF9SFxgcd7RpA&hl=en&sa=X&ved=2ahUKEwjxsoLNw7XgAhWpmeAKHYUDAaAQ6AEwGHoECAcQAQ#v=onepage&q=uttori%20gold%20technique&f=false Second set much better quality than first, imo.

Hello, Below are the measurements of a Nambokucho period Ko Mihara nihonto that by anyone's description could be said to be a 'monster' of a sword. As you can see the saki-kassane measured 5mm, while the moto-kassane measured 8mm. On the subject sword here we're only given one measurement of which we don't know where it was taken. So, at this point in time we have an incomplete picture. Perhaps, someone could/should contact AOI and ask for these measurements, at which point a more complete discussion could follow. Mumei o-suriage 75 cm (96 cm overall), shinogi-zukuri, high shinogi, torizori (16 mm), chu-kissaki, medium iori-mune, moto-kasane 8mm, saki-kasane 5 mm, moto-haba 32 mm, saki-haba 23 mm, bo-hi. Only suggesting.

Based on these images alone it seems premature to make a hagiri call just yet. Usually there will be a number of qualified people, polishers, dealers, and others, that should be able to pin this down for you in attendance in Tampa. While Shinsa may doom it, a positive outcome will assure and lay to rest any doubt should you decide to sell. Good luck!

Hello Paul, FYI, http://www.ny-tokenkai.org/ , you might try contacting this group for additional information. As far as opinions go, I have a difficult time believing this is a 14 century nihonto based upon these images alone.

Fancy looking, otherwise not impressed.

Assembly marks for mounts.

Greetings, So far I would agree with the thought that this is not an older blade (at this time), my guess would be shinshinto. With a chipped tip and a chip at the yokote it will be important that the polisher has excellent foundation polishing skills, especially when considering the importance of the o-kissaki to this sword, not to mention the chunk of change that will be invested (new habaki, new shirasaya, origami).

http://www.nihontocraft.com/Suishinshi_Masahide.html From an early time of sword study it became readily apparent that what separated the different eras of sword making was that Koto swords had a direct connection to use, battle tested. There's nothing like having a steady stream of direct feedback. [Form follows function and is a product of the environment]. Yamanaka and Nihonto Koza both refer to this thought in their writings, Kentaro Yoshikawa sensei, too. And just for the record, I enjoy and appreciate swords from all time periods.

The key word to look for is kantei (a word synonymous with Japanese sword appreciation). The 1st step in kantei is evaluating the sword's shape, good swords begin with shape (studying curvature). The 2nd step in kantei (too often overlooked) is determining overall quality. Both of these steps call for training the eye to recognize what is excellent. Which requires looking at as many of the best swords as possible to the point, it is suggested, that viewing a bad sword will hurt your eyes. And so, the ongoing process begins.

Fyi, https://www.aoijapan.com/katanaoite-nanki-shigekuni-zo-kore-first-generation/

Fyi, http://www.ksky.ne.jp/~sumie99/yakiotoshi.html

Jean, What would a samurai say?

Appears to be so.

Owl and crow together, really (?), hmm. Chris, welcome to the world of nihonto where nothing is ever easy.

Another sword finds its owner

Shape, shinogi zukuri, yokote, ko wakizashi proper term (???) p.s. after a while doing this it eventually sinks in that there will be exceptions to almost every rule.

Those vertical lines along the ha are let's say eye catching, too.

Example, plus excellent write up. https://www.nihonto.com/nanki-shigekuni-%E5%8D%97%E7%B4%80%E9%87%8D%E5%9B%BD/

The tsuba, at least to my eye, is not only depicting a dead salmon, but also the shallow stream bed where these creatures often go to die. Otherwise, would go along with dried salmon. The program 'Wild Japan,' which just aired the other day, had a segment on these creatures. The mouth agape (as seen in some of these depictions, but not this tsuba) has significance beyond the obvious, which probably didn't escape the thoughts of an artistic mind.

Dead male salmon after spawning.

Hello, Before proceeding to a full polish it would be wise to figure out more precisely what it is that you do have and, perhaps more importantly, what you don't have. A good first step would be to have a qualified polisher look your sword over and give you their thoughts, help you identify and explain if there are any problems. If all appears fine, the next step (suggest) would be to ask a polisher to open a window on the sword. Which is where a short segment of the sword is fully polished. This would provide you (along with any future buyer) with a peek at how the sword will look finished, and at the same time give the shinsa team a clear image to help them determine/confirm who done it. This will also help you in deciding how to proceed going forward, or not. p.s. another benefit of having a window put in, is that it gives you the opportunity to see the polisher's work. My thought is that choosing a polisher is just as important as deciding what sword to buy. Polishers are not all equal, and you should understand (recognize) the differences.