Lewis B

This discussion came up in last weekend NBTHK-EB meeting in Solingen. It was in German so I didn't catch everything. Literally it means 'large and small'. The shorter can be a tanto or a Wakizashi for example. Doesn't have to be the same maker, school, or in matching koshirae etc. But the definition can diverge from a Western and Japanese standpoint.

A high Roller? Sorry I couldn't resist. I'll get my coat.......

Looks like someones High School metalwork project.

I don't own the blade, but was considering it until I started to understand better the style of genuine Mei From the Soshuden Museum "Regarding the master’s signature on this work, we can say that all of the above features, mandatory for Shintōgo Kunimitsu’s signature, appear on the sword’s tang. This signature includes an absolutely vertical dividing line in the “Kuni” kanji; a calligraphic style of writing the “crown” in the “Mitsu” kanji, with a strictly parallel left stroke of the “crown,” and the tilting leg of the “Mitsu” kanji ends with a rising upstroke. Thus, when studying this sword, we have a unique opportunity to see in detail, in a “vivid” example, all of these features of the master’s signature, which are mentioned in both old and new sources." http://www.nihonto-m...togo-kunimitsu-tanto As you say Brian the application of the strikes appears quite hesitant.

To add a little more meat to the discussion. The tanto in its current state was submitted to the NBTHK several years ago but they rejected it. Interestingly it wasn't an outright rejection, stating it required further research. Having compared the Mei with the others I posted I can understand why they were so hestitant. Current state

What are the opinions regarding the authenticity of this Mei from a Tanto in poor state of preservation. I have tried to dig out comparative Mei from other known Soshu Kumimitsu blades and I see some distinct differences that would would lead towards this being Gimei What immediately stands out is the angle of the vertical line in the first Kanji. In the known examples this mark is almost vertical or near vertical. In the second kanji the vertical mark is again almost vertical or slightly leaning to the right. Would these observations lead one away from it being genuine?

I bought my 2nd Nihonto from Chosuya Ginza. The site is well organised, with photos that give a reasonable impression of the finer details contained in the blade. Prices are excellent from what I can see for the quality offered. And Akemi Tateno has an excellent command of English, is happy to accommodate with additional pictures and her personal impression of the blade in question. She even mediated with Tanobe san to write the Sayagaki. The sword was packaged perfectly. I would definitely buy from her again.

I suddenly realise how much I miss Darcy Brockbank and Yuhindo.com. That was THE place for Westerners to see and possibly acquire 7-9/10 blades from top schools and smiths.

Couple of thoughts and observations having just purchased my first nihonto from Japan. It's a bit of a blanket statement to say Western buyers only have access mid tier blades at best. It's really difficult to gauge the voracity of that since we have no idea what is available behind closed doors and within carefully curated circles. I plan to visit the DTI next year and maybe this will help to figure out if we are really swimming in a shallower pool. As with anything it's often who you know so buying through an intermediary may pay dividends (there are a couple of EU based players who can offer this service). You might pay a little extra but I think it will be well worth the investment. I plan to make a big purchase at the 2025 DTI if I see something that tickles my fancy. I will contact a few dealers ahead of the event and ask if they have something that meets my specs so that it can be brought for inspection. Regarding taxes (at least in Germany) the standard MwST levied is 19%, although if you can prove the item is over 250 years old (with NBTHK papers) and of historical significance (perhaps a littler harder to establish) then a 7% import tax is applied. I am currently going through this process having been told to pay the 19% upfront and then dispute the applied HS tax code in the hope the lower tax can be negotiated. This can all be done online.

I presented the Senjuin katana at the Bring and Tell session at this weekends NBTHK-EB meeting. It was well received and the overwhelming consensus was that if I wanted to submit for Juyo, to avoid risk of further degradation that might be inflicted by another polish and send it as is. The 'delicate' sugata suggest the blade was late 13th Century early 14th Century at the latest, putting it in the late Kamakura era. While Go Yoshihiro (its historical attribution) is unlikely, I feel it has enough features in common with the Echizen Yoshihiro group (based on a Juyo SY katana) that it could come back as a named blade, most likely Senjuin Yoshihiro, if accepted for Shinsa. Someone also suggested the typical Senjuin jihada is more roughly forged and that would fit with the weak Senjuin attribution mentioned here. According to Kazuo Tokuno a group of smiths relocated from Yamato to Hokuriku on the Northern Coast and incorporated elements of Soshu style swordmaking to their traditional Yamatoden origins. There was a Senjuin Yoshihiro in the late 13th Century and a signed/dated piece from 1343. The earlier Senjuin Yoshihiro is said to have been born around 1280 and was Go's father, and that the later dated blade could be by the same Smith. The postulated dates fit this hypothesis. Another hypothesis by Honami Kozon is that Go was not a Soshu smith at all but one of the Senjuin Yoshihiro group who adopted some of the Soshu style. I added a more high rez images to my Google Drive and I hope these give a good impression. The detail in the blade is highlighted by the macro lens and use of appropriate lighting. I found a cheap Ikea LED, with integrated lens to disperse the light, to be really good for these images and Nihonto in general. Offset high intensity halogen was my preferred light for visualising the hataraki. Enjoy. https://drive.google...j-eZWYtgSKfamVWFUlsO

This is likely the explanation for the poor responses. Thanks for posting. That the export docs have taken so long to process is odd. I purchased a blade in September and the export paperwork was ready in 3 weeks. Is it possible the papers don't match the blade and this is the reason for the delay. I would be patient and give it another week and then make phone calls.

Well there is Mei. Hopefully not gimei, so that should tell you who made it.

These are model images of how horimono should look. Fantastic quality.

I think I can see some corrosion peaking through on one side of the Tsuba. Maybe its lacquered iron. That would make more sense.

I'll save Jean the post - well focused, not foggy or blurry - made with a dark, non reflective background for good contrast - made with light from the side (may not apply for HAMON photos) - made directly from above (not at an angle) - made with correct orientation (vertically tip-upwards, especially NAKAGO photos and TSUBA) - without HABAKI but showing the MACHI and NAKAGO JIRI - made in high resolution to see details - showing details (in magnification) like BOSHI, HAMACHI, HAMON, HADA, NAKAGO JIRI etc. or the fine work on TSUBA - presented as cut-outs so very little background is shown If you cannot supply good photos (..."these photos are all I have from the dealer...."/..."I do not have a good camera but only an old mobile phone...." ), DO NOT POST BAD ONES. They will not be helpful.

You only have to read the description for the alarm bells to ring. So much of the fastenings and lacings suggest recent. No images of the interior facia. And the final sale, no returns disclaimer. Enough said.

I don't know enough about Yoroi to pass judgement. What I can say is that I refuse to support businesses with questionable ethics, hence the Caveate Emptor comment.

A couple to review https://sbg-sword-fo...ity-purchased-katana

Caveat Emptor re that dealer. Examples of (recent) poor experiences both here and on other forums.

I think there may be some confusion with the length of blade permissible for the Merchant Class during the Edo period. The length of blade for the Samurai was not dictated but rather dependent on fighting style, convenience, height, reach and proficiency. I read recently that some successful battle tested Samurai were perfectly happy with a blade length around 60cm, a lot shorter than the more common >64cm and better suited for single handed use. In one hand the increased reach compensates for the reduced blade length.

Agreed. I can only imagine the number of hours it took to create such a superlative masterpiece.

Over 10% (3/26) are Norishige's work. Not bad going.

Found a used copy in Berlin. Appears to be one of the best English language references for understanding the technology of sword making. The author sounds fascinating. Kapp was a Molecular Biologist at UCSF where I worked for 7 years in the lab of Nobel Laureate Stan Prusiner.

IMHO differences are due to the geometry of the blade in question. It has nothing to do with the steels used in different eras per se. Neither does the forge welding and folding have any noticeable effect. My Shikkake from the late Kamakura, early Nanbokucho era is 70.6cm, motohaba >3cm and weighs 770g. No Hi. The Senjuin is a lot more diminutive at 62cm and 2.55cm motohaba, 1.65cm sakihaba but with >7mm wide shinogisuji and full niku. Even with bohi the blade weighs 450g. Put them side by side and the size differences are dramatic.

Let's not forget the Go's too. So much for never seeing a Go or a Ghost.