Franco

Fyi, https://www.militaria.co.za/nmb/files/file/36-collecting-nihontō-–-what-how-and-who/

https://www.aoijapan.com/katanagassannbthk-hozon-token/

So, then, Jacques, are you saying this sword is "around 1450" or later since after all you've identified it as being a "tired sword" with what "looks very much like a shingane patch." Is that correct? Is that your call?

Jacques, your statement ... ... cannot be supported, the least you could do is try to correct it. x

Yes, I have this book and read page 33 twice last night. My request still stands, "Exact quote, if you please?" Take your time, show where page 33 is saying (or any text for that matter) that "very old blades there was no shingane this technique was invented around 1450" ?

Exact quote, if you please? Merci.

Citation required?

Kantei is the foundation for Japanese sword appreciation. "It's the sword that confirms the mei and not the other way around." If the person viewing a nihonto is unable to correctly kantei (especially quality) the sword they're viewing, signed or not, attribution or not, what difference does it make if it was cooked up or not?

I should have said cost of polish times one vs times two. However, as I understand it the cost of an excellent polisher is ~ $130 an inch these days. Further, few Ko Gatana are worth a high quality modern art polish as they were made more for utility type purposes, rather than a quality piece as we've come to expect of nihonto, and with a honorary mei, but there are exceptions. As far as I can tell Ko Gatana are made of one piece skin steel. Which looks to be tightly forged. I wouldn't go as far as saying muji, but definitely very fine. Who gets to appreciate the contrast between the two sides? Hmm.

hmm, Only guessing; 1. there's no hamon nor hada to reveal. 2. $130 per inch times one vs times two. ( I'd bet if if you're willing to pay to have it polished .... ) 3. traditionally not done. 4. unpolished side provides surface for mei, horimono, other. 5. The natural patina that develops on the unfinished half provides contrast to the finished side.

It must have been at least a decade ago now (?) that a seminar was held in Canada at Guelph University on forging Ko Gatana (if memory serves ). There must be some of the attendees still around, as well as examples that were made by the attendees, who would be able to describe the process exactly. Chris Bowen is where I would begin to find out more. Ko Gatana, yes, made of skin steel.

Comments, ramblings; At present the condition of the polish makes determining what this sword is difficult. Remember, it's the sword that confirms the mei and not the other way around. Which then raises the question of what are you hoping to accomplish by submitting this sword "as is" to shinsa? Mei verification? Perhaps establishing the time period more precisely? If gimei, then who or what school/tradition made it? An experienced and knowledgeable collector will have a pretty good idea going in what the answers to these questions might be, and more importantly why or why not. Shinsa surprises can sometimes be good, but can also be most disappointing. Interesting? How interesting could a muromachi period gimei sword be? It is not going to be an earlier copy of a later sword. It's not likely to be a saijo smith's copy of a chu jo saku smith's work. But, it could still be a decent sword. Interesting? How can anyone know without seeing the details of the sword? It's workmanship, quality (chu saku, chu jo saku, jo saku, Jo Jo, Saijo) ? Is it hiding nie, nioi, ji-nie, utsuri, chikei, ayasugi hada, yubashiri, ... ? Unless and not until anyone including the shinsa team can see these things, it might not become such an interesting sword. Which leads to the question of whether or not to have a window opened/polishing. Polishing. Windows come at a fraction of the cost of a full polish. They allow one to see what the sword will look like polished. A window can reveal enough to make further decisions on what steps to take or not take next with the sword. Personally, unless a sword (especially of some length, katana), has a very good chance of receiving tokuho or a higher designation it is difficult to rationalize having a sword polished. There are almost always exceptions. http://nihontocraft.com/2015_NBTHK_Nionto_Tosogu_Shinsa_Standards.html Collecting nihonto is not easy, lot's of bumps and pot holes along the path, but then the challenges can make it rewarding, sometimes.

Natsuo or not, this tsuba looks good enough to eat! Which happens to be one of the thoughts that came to mind the first time holding a Juyo Natsuo tsuba in hand. Cheers,

Thank you for posting additional images. Additional comment (opinion): Without checking. First impression of this mei (which might be completely wrong), looks added. Nakago jiri doesn't look correct for Koto Gassan. Submit to shinsa for professional opinion. also, search Koto Gassan mei. Additional questions/suggestions/info to seek; High shinogi? Lacks Niku? Ayasugi hada? Shape of mune? Study, study, study!

Hello, Shape suggests even earlier. Perhaps, Oei, late Nambokucho time frame. Most likely from mishandling, not battle damage. Shallow hamon with chips (?) as well will require an excellent polisher (ask before choosing), if it ever comes to that. Keep it oiled, just a light film of sword oil to prevent rust from developing or progressing. I purchase sword oil from Bob Benson at bushidojapaneseswords.com . Requires better images. Regards, Franco

Hello, 1. http://www.sho-shin.com/oei4.htm Based upon the newly posted image of the out of polish hamon, my thoughts at this time would lean towards this being a Kozori Hidekage blade. A healthy valid signed and dated Koto muromachi period sword is worth considering for polish.

It is essential in a polluted world that we pay careful attention to our health. The body has the ability to heal itself to a certain extent, or at least not degenerate as quickly, if and when provided the proper nutrition. EWG's 2022 dirty dozen list ... https://www.ewg.org/foodnews/dirty-dozen.php Kind Regards, Franco

Beware when looking for a polisher that you'll want to find one who is not only an excellent polisher, but also qualified to do yari. Not all polishers have the proper training. Also, you can expect the polish to be a bit pricey with so many surfaces to polish

For serious nihonto students; Yamanaka's Newsletters revised available through the NCJSC ... http://www.ncjsc.org/ncjsc_publications.htm . Don't expect to find the answers to your questions addressed in a concise format. But, they are there. Also, AFU's Nihonto Koza. Further, like others I've come to the conclusion that it is best keep swords of different periods separate for direct comparisons for the reasons given, that is compare them to swords of the same time period. Throughout time swords were being copied from earlier made swords. When one views a later sword they should ask themselves the question, " what is this sword attempting to be and how does it compare to what it is attempting to replicate."

This habaki appears to be made of a solid material, not foiled. My guess would be that it is not a "solid gold." A jeweler should be able to give you both a karat and weight reading.

Ubu-ba is a function of polish. Therefore, ubu-ba is not necessarily removed with the first polish or even the second. And, if you stop to think about it, can't ubu-ba be applied regardless of .... ?

Appears to be machine made steel and oil quenched.

My guess for the kogai and kozuka would be Goto, "perhaps" even Kenjo . Menuki show Goto traits as well. My guess would be Mito for the fuchi kashira. Tsuba ??? Thanks for showing.

https://www.aoijapan.com/kozukaou-yoshida-nanigashi-ai-zu-ju-goto-norihashi-ichijokao/

Katakiriba