Matsunoki

David…..sorry but my knowledge is lacking beyond what I’ve already said. I hope others can offer opinions. All the best Colin

Jacques 1. I thought that Kazu-ichi mono referred to actual swords not swordsmiths. Am I wrong? 2.Over the many hundreds of years there are thousands of smiths that would not qualify as “artists” but that doesn’t mean they didn’t make decent swords does it? ie swords well above the Kazu-uchi mono category 3. You are looking at exactly the same images as the rest of us……please re-read your own words as follows- “You have to rely on the clues you have, not on what you think you see on the pictures.” “When I don't know, I keep my mouth shut and I don't venture into wild theories.” “To be honest, you can't tell anything about a sword if you don't have it in your hand.” …..putting this sword forward as a possibly modified showato based on inadequate images seems a pretty wild and baseless theory to me and pretty stupid given that a good showato (probably gendaito based on what we can see) is worth more than a wakizashi by a minor smith.

I would have thought that there are several very obvious answers to this. 1. reworking a nakago is far cheaper than getting a new sword 2. it’s his sword and he liked it - and didn’t want to junk it 3. reworking a nakago can be done by untrained hands and thus would not even require a smith (I’m not saying it would be done properly…..but possibly required quickly in battle circumstances) etc etc …..and you are making a massive assumption that this smith (whoever he is) only made kazu uchi mono….can you substantiate this? Evidence?

Morning Dale re the “dots”……they only appear on the three side panels that give the impression of being “folded over” so I wonder if they represent some form of welding punch…..bit like a modern spot weld? ….just a thought. All the best Colin

Learn some manners and humility. As for the rest of your reply …it makes no sense whatsoever in the context of this discussion.. Do you actually read what you type?

Luca….. What a coincidence ! Translation says it’s bamboo. Puzzle solved David?

David….I’m no tsuba expert but this looks a real puzzler and I look forward to the opinions of the guys that know. I would offer the possibility that the flora in question could be one of the more weeping variety of bamboo. The leaves certainly look like bamboo. I hope you get clarification. all the best. Colin

Firstly, thanks for calling us idiots…….. although it would seem that you are able to tell an ana is perfectly circular from your statement “I have already provided pictures of kamakura ubu swords with only one mekugi ana this one being perfectly circular” although I’m not sure why the mention of a Kamakura sword with one perfectly circular ana is relevant to the nakago in question…..we are not debating the perfection of their geometry. Secondly, please answer question one……in what way are these two mekugi ana instructive ie what do they actually tell us. Thirdly would you agree that when you can see an ana is clearly heavily tapered it is more likely to be punched than drilled?….or are you suggesting the use of a tapered drill?

Please look at the cross section of the tsuka just above the habaki. You will see the criss-cross rays that only occur in that form in ivory. Scrimshaw is usually fashioned from whales teeth …..which this definitely isn’t. Walrus has a much coarser grain and areas of a more crystalline structure which are not present in these images. It is possible that they have used a small piece of bone for the mouthpiece on the saya for convenience but you won’t see blood vessels in the main saya or tsuka. The more modern copies and fakes, mostly from China are sectional bone but the Japanese had no need to use such a cheap material or production method when putting this amount of effort into fine carving. They did make later inferior examples using bone …….but this is not one of them…..they had terrible carving by comparison. I have handled very many of these both as a dealer and restorer.

Overall that looks a nice Tanto. Can we see a few images of the whole blade (both sides) in decent lighting please?

In one image surely we can see fumbari and a distinct reshaping of the nakago? But in the other image it looks as if the hamon ends at the hamachi……re-hardened???

Ray is right. It is 100% definitely ivory and a quite good quality Meiji tourist piece. (dating from late 19thC). These hardly ever contain a good blade and likely this is a cheaply made unhardened contemporary one or a poorer quality older one. Again as Ray says, blade usually glued into tsuka and I’ve never handled one with a signed blade - so don’t risk damage by trying to hammer it off! Apart from the political stigma attached to ivory nowadays, it’s a nice example and before we banned it in the UK it would have fetched around £1000.00

Please give us the benefit of your expertise as these two statements are a bit confusing. Q1. In what way are these particular mekugi ana instructive? Q2. Which beliefs regarding mekugi ana are time to throw away? Thank you.

Thanks Dale….those wriggly designs around the rim puzzled me …..but now they make total sense…..just like when you pull the bark off an old log and can see where the various “bugs” have eaten it. Cant quite understand the Pauwlonia blossom floating among clouds…..maybe symbolic of the Emperor…..the sword it came off was a type carried by Imperial loyalists of the Bakumatsu period leading up to the Meiji restoration. Bruno, Greg…thanks for chipping in. Anyone give me an idea re age? All the best. Colin

Hello from a chaotic and laughable UK….I’m guessing our political/financial adventures have reached the wider world!!! Anyway that isn’t the topic here. My knowledge on iron tsuba is negligible so can I please ask for your help on this one? It comes off a very nice blade that has a modest koshirae. Anything you can tell me will be greatly appreciated. Thank you. All the best. Colin This is the sword it comes from just out of interest- H83.8mm W78.2mm T4.54mm at mimi

How do you know how he handles it and what oil he uses. ? He could be wearing mask gloves and condoms while handling it for all we know. Paz….this seems a bit “uncalled for”. Chris is simply offering advice to help preserve the sword. Warren may well already be aware of what is needed but we can see uchiko in the earlier pics and we know that the cheap stuff can scratch a nice polish. I’ve never seen condoms mentioned in sword care advice, you are the first to quote such practice.

John- I can offer no opinion on the stamps and marks or why they are there or who put them there but for my money this is an older traditionally made blade. It looks an ubu sword and it’s a wakizashi…..not commonly produced for the military. The nakago patina and shape do not suggest Showa nor Taisho to me. All the best. Colin

John- Can we see images of the whole nakago and the whole blade please? That will help in determining what the two “marks”might be. To me, based on what we can see of the nakago, it doesn’t look like a military sword ….it looks older….and the “marks” could simply be deeper rust pits. All the best.Colin

As soon as anything is perceived as rare, desirable, prestigious or valuable it becomes a case of “buyer beware” and it has been thus throughout the ages for all Nations including Japan. I do agree with Thomas…based on my contacts mostly with Japanese dealers, the Japanese are shrewd but honourable…..but ultimately money talks and temptation lurks…..everywhere. Unless I’m mistaken (again) Kantei focuses on identifying the smith with varying degrees of success awarded. How many of us can Kantei a blade with confidence? ….and ultimately it still remains a matter of opinions anyway. Surely more important to focus on the visible quality and use that to “appreciate” the sword. Average smiths made the odd masterpiece and wonderful smiths got it wrong sometimes. Understand what a well forged and hardened blade looks like, be able to spot flaws and polishing “issues” etc etc and be able to make your own mind up…..is it wonderful, good, ok or not so good. ……oh, and then by the way the way who might have made it…..anyone around I can ask🙂🙂 ……just a few musings.

This discussion leads me to recall a daisho I was shown over 30 years ago. It was in superb koshirae…..gold lacquer saya and from memory shakudo mounts with Tokugawa mon. They were each contained in several layers of silk bags and in a custom fitted box smothered in Japanese kanji. The Katana was signed Masamune and the Wakizashi signed Yukimitsu. (The dream daisho!!). I was told they were certified by a famous Honami. The whole package looked so impressive. Even then with little knowledge something made me doubt. A few years later they cropped up in a London sale catalogued as Shinto and sold for a Shinto price. Can anyone else remember them?

A wise old saying….. ”believe nothing your hear and half what you see” …….a sensible approach to collecting Nihonto?

Hi Kirill Not sure I should even ask this question……but how reliable are these appraisals in these circumstances? I await the storm…… All the best Colin

Morning Paul……..I guess my use of “cracked it” was in comparison to me! My aspiration first time around and again now was simply to be able to recognise a superb sword from a good sword from a not so good etc. …and to enjoy my temporary custodianship. I don’t “value” it based on who made it (although I do try to seek opinions)or if it’s gimei or if it’s a bit rough! I know that is not true scholarship but it’s what makes me happy. I’m a collector and a dedicated enthusiast for all forms of Japanese Art and craftsmanship also for over 40 years and I certainly share your excitement. ……but the knowledge that some of you guys have is still amazing. If ever you find yourself in the East Anglian wastelands give me a shout. All the best Colin

Hi Bryce……I totally agree…..you could go mad in the process. I can’t think of a more complex field of collecting or studying. This proves your point…..if the experts can’t agree what chance us mere mortals? I take my hat off to the members on here that have “cracked it”…..it must have taken an unbelievable amount of time and effort, not to mention a damned good memory.

Hi Paz Speaking generally, in feudal Japan (which was extremely parochial) Samurai would obtain their swords from the local smiths (unless issued with armoury weapons which could come from anywhere…collected after battles etc) be they gathered around the larger castle towns or in more rural regions. So, wherever the school or smith is forging - it’s the local Samurai he is supplying. Speaking generally, the typical samurai ashigaru was usually pretty penniless and could never have afforded the best swords whereas samurai of higher status could. The higher up the rank the greater the chance of wealth and thus the trappings that come with that wealth….finer swords, better armour, maybe a horse!! (unless of course some of the later Tokugawa regulations forbade it). As for who owned which sword……unless documented (which is hellishly rare) it’s impossible to say. During its lifetime a 400 year old sword could have had at least 12 owners…..probably more than that in the more violent Koto periods. Amongst the highest ranks ….Daimyo etc….there was a custom to present swords by specific makers as tributes or rewards. That proves that at that time some smiths were indeed regarded in higher esteem. However it is believed that many such blades were gimei but accepted as genuine to satisfy everyone’s honour. ….just a few musings. Colin