Clive Sinclaire

I believe that cheap tachi kshirae were made to celebrate a new Imperial succession such as Taisho in 1911 and Showa in 1926. Rarely, if ever were they made at arsenals Clive Sinclaire

Gentlemen I have seen some very good Soten work such as the SEVEN ? VIEWS OF OMI PROVINCE and own about 5 examples myself. I think it is important to remember that the vaste majority are Machi-bori and therefore designed to have a wide appeal to ordinary people amd they should be viewed with this in mind (only one of mine is in shakudo nanako and it is not my favourite). Regards Clive (a bit out of my comfort zone) Sinclaire

HI Chris I know what you are saying is true, the traditional haircut made me think otherwise, but I could be wrong. Clive By the way Chris, now that I have you, do you know anything of a swordsmith's biography from Taisho who according to Hawley's worked in Osaka and was the last of the Enju smiths. I understand you have had a tanto by him - Taro Enju Kunitoshi?

Hi Tom Thanks a lot for that info. The picture is on page 17 (pic 53) of vol 2. It seems from the caption on this photo that 9th dai Munetsugu was actually the Muneaki that you say was Shoichi's son. However, as the man is wearing a daisho, it would appear that the pic was taken pre Hattori, too early for it to be 9th gen Munetsugu / Muneaki don't you think? I will let you know when I put the oshigata and info, including what you have kindly supplied, onto our website. Cheers CIive PS I've tried to upload the pic but it won't let me.

Gentlemen There is a small Hizen Munetsugu quandary that I find myself in and hope that someone might be able to help. I have been given a shinshinto katana signed “Hizen Kuni Minamoto Munetsugu saku” that the owner wants me to draw an oshigata of. I am reasonably sure that it is by the 8th generation as the mei compares well with that in Hizento no Tsuba (Vol 1, Page 221). This smith died in 1910 at the age of 77 which means that he was about 34 at the time of Hattori in 1876. In all my relevant references (Hizen Taikan, Hizento Kokkeki, Fujishiro, Hizento no Tsuba and even Hawleys) only 8 generations of the line seem to be recorded. However, in vol 2 of Hizento no Tsuba, there is a photograph of a sword-bearing samurai with a caption stating, I think, that it is the 9th generation Munetsugu. Given the dates of the 8th gen as 1833-1910 it seems impossible that this picture, presumably taken before the Hattori as he is wearing daisho, could be a 9th generation. It is of a mature man and I strongly suspect that it may actually be the 8th generation. It seems that the only reference that I can find of the very existence of the 9th generation, is the caption on this picture! To further confuse me, in Roger Robertshaw's worthy Hizen tome, on page 27, although showing an 8th and 10th generation Munetsugu in the genology, the 9th gen seems to be missing! Any opinions on this and the existence of a 9th generation Munetsugu (maybe with a different name like some of the earlier generations?) would be most appreciated and I hope I am not being a total idiot (again!). Regards Clive

John I would earnestly caution you about taking the sword to Japan yourself as you may find it very difficult to gain entry for it. If I were you I would send it in advance addressed to an agent or your polisher familiar with the torokusho shinsa system. I think the Tokyo registration is the first Tuesday of each month. If you do take it yourself I would beinterested to see how you fare, so good luck! Regards Clive Sinclaire

Kajihara gave me a copy of this which I still have. It is a large cased 2 volume set and as Tom says, is an indespensable visual glossary. Very sadly his son died before he did and although I have a piece very well polished by him, there were some horror stories of "student work". Clive Sinclaire

! Clive Barry I am sure they are especially good for drawing Hizen Masahiro blades! Clive

Anthony If I may bore you with a couple of other little and odd points of which you are probably already aware. I was told that if a polisher / sensei does NOT regularly draw oshigata in the traditional manner, you should get a new polisher / teacher! Another essential tool is a good supply of putty erasor, I also use small magnets to hold the paper on the nakago when tracing the mei but these should not be used on the polished section of the blade as they may cause scratches. (some disagree with this as it may cause a blade to become magnetised).For the polished section I use photographic clips which have cloth in the jaws. For me, the most difficult thing is to draw the shape of the blade correctly. Frequently I am surroumded by screwed up failed attempts until at last I have one that is OK. I probably then change the heavy-metal CD to something like Johnny Cash! Lastly, draw the nakago/mei very lightly, going over the surface a number of times with a small piece of the sabboku. Study the emerging kanji and you will be able to see bad or nervous carving, that may indicate gimei! I look forward to seeing your oshigata. Gambate kudasai!! Clive Sinclaire

Gentlemen I am a great fan of oshigata drawing and have done many in the past. I was taught by a polisher named Kikuchi Masato, a student polisher, when I was staying with Sasaki Takushi in Saitama-ken back in the 1980's. Kikuchi-san was a genius oshigata drawer and is now a talented togishi. I believe that anyone can draw oshigata and all it takes is great patience and the willingness to spend the required time and effort. I am fortunate in that some people lend me their swords for indefinite periods of time so that I can draw their swords, which usually end up on http://www.To-ken.com under UK Sword Register. From my own point of view this gives me the opportunity to study many different swords very closely. Indeed I often know the sword better than the owner in the end and this gives me great satisfaction. As Chris says, sometimes the equipment is not easy to obtain, especailly the paper. The Sebokku, which is a wax made from pine charcoal, I believe, is reasonably easy to get at NBTHK's Token Hakubutsukan, Namikawa's and I have often see it at US sword shows. I always draw oshigata whilst sitting on tatami as I find this gives me the best position and control. Fortunately, my tatami room at home is specifically designed for sword-viewing (lights etc) and provides an excellent atmosphere for oshigata drawing. I don't think that you can hurry the drawing and if you are under time pressure it is better to stop and restart later. Often an oshigata might take me all day to do and I quite enjoy heavy metal music playing loudly in the background, such is the strange world inhabited by Clive Sinclaire! Of course, there are many good books containg skillfully drawn oshigata but the best must be Meihin Katanaezu Shusei by Tanobe sensei. This was a limited edition book of oshigata published some years ago and is of rather large proportions (57.5 cm x 42.5 cm) and occasionally found at sword shows etc. Finally, if you are still with me in this rather unstructured posting, I am looking forward to New Year's Day. Every January 1st, for the last 20 years or so, I devote to drawing an oshigata and I am already anticipating this event which is supposed to clear my mind from the previous month's excesses. However, this coming one is going to take all my attention as it is a very complicated hitasura blade and I have never drawn this most difficult of hamon. Clive Sinclaire

Gentlemen I have recently been asked to draw an oshigata of an interesting katana which I wonder if anyone, with better references than me, might be able to expand upon. I think the sword is quite unusual in that it is a shinto piece made in Nagato province and I think few swords were made there at this time. Further, it is in Kanbun shinto sugata and with a hitatsura hamon (I don't think I have ever seen this combination!). The mei is CHOSHU JU FUJIWARA NOBUTARO SAKU who is listed in Hawleys as NOB 503 with a working date of 1624, so the sugata is concievable but I can find no other reference to him. Any futher info, comments etc would be most welcome. Regards Clive Sinclaire

Hi Bob and Guido (the terrible twins) It is with great regret that I (a famous non-drinker) will not be able to attend the Yatakabune trip as I have a previous and unavoidable social engagement that evening! However, I will make sure thay there is a plentiful supply of edammame for Guido. I hope to see any survivors at the DTI on Saturday and am available for wineing and dining that evening, should anyone still be standing. Regards Clive Sinclaire

Jason I am afraid that I have no copies myself, but if you wish to send me one I would be very happy to apply my unworthy monica (slang for signature) to it. Best wishes Clive

Gentlemen My nidai Echizen Shigetaka is a Kanbun period sword. See ww.To-ken.com and go to UK Sword Register 105 for oshigata and notes on the lineage etc. Regards Clive Sinclaire

I'll be at the DTI on Saturday 30th so I hope the gaijin bash will be on that day and that I have enough money left! If Guido is organising, I hope to be put onto "Shiller's List" once again. Regards Clive

Gentlemen If my memory serves me right (and it doesn't always these days) these swords had been cleared out of a warehouse in Sugamo some 2 years or so ago, and they had been stored there by the occupation forces after WW2, who had confiscated them from the population. They had been kept there (without torokusho) for some 60 years. They were then recovered by the NBTHK who were trying to trace original owners etc. Clive

Micha I am interested to know what it is that you like about Hizen-to and Masahiro in particular? Regards Clive Sinclaire

Further to the above, I now understand that Yoshihara Yoshindo will be presenting a sword to New York City on 11th Sep (9/11) 2011. Clive Sinclaire

Gentlemen I have been sent the following link which details a new book by Yoshihara Yoshindo and Lonnie Kapp. It is http://www.theartofthejapanesesword.com Confusingly this seems to say that it will be out in Sept 2011 but according to Lonnie at the San Fran show, where there were drafts of a number of pages, it will be published early next year. I will attempt to clarify this. (by the way, there is a short essay by me in it!). Regards Clive Sinclaire

Gentlemen I know we have been down this torturous path before, but I cannot let it pass without saying that I do not subscribe to the notion that a sword is either art or artifact. I am sure you are all aware that even the shinsakuto of today must be valid as a sword and be able to cut without bending or breaking, otherwise it is not even considered as an "art sword". Without a keen ha-saki it is pointless making the sword and it would not be necessary to go through the whole quenching procedure or even producing a hamon. It is also worth remembering that a part of the polishing process is sharpening the blade. This in no way detracts from the beauty or art of the finished sword, but does provide a raison d'etre for its very existence. It is interesting that Reinhard suggests the reasons for Yasutsugu's restoration of swords by yaki-naoshi was not to restore the "weapon-qualities" of famous swords damaged by fire at Osaka castle. I am unsure from where such inteligence originates but I would have thought that neither he nor I can know the precise reasons behind the restoration. I suggest that the sword was not considered "complete" without a hamon and therefore needed one re-instated. If this is also considered as restoring the swords "weapon-qualities", then so be it. In summary and conclusion, I think swords have to be BOTH art and artifact. Thanks for your indulgence. Regards Clive Sinclaire

Gentlemen I currently have a shinto sword in for appraisal which is saiha and this is a "fatal flaw" that I don't believe has been mentioned so far on this thread. This sword has yakiotoshi some 12cm from the hamachi, an ugly mizukage effect and a heavily "encrusted" patination on the mumei nakago. The rest of the suguha hamon looks OK but there is some coarsness in the jihada. Such yakinaoshi was said to be a practical repair for a sword damaged in combat or more likely in this case, from fire damage. Is this not a justified reason for the process and, therefore, the modern opinion that it is a fatal flaw is unjustified? There is no doubt that with this paricular sword, the effect is not pleasing to the eye, but should this be a secondary consideration to the practical issue? I also have a book, printed in the late 19th century for "private circulation" entitled FORTUNE TELLING BY Japanese SWORDS. This gives various diagrams and shows many faults and flaws and predicts what will happen to the owner if they appear on his sword. I cannot find hagire but for tate-ware in the ji it says "This is a certain mark that the owner will commit harakire or suicide , and even if you were to visit anybody who pocessed a sword with these marks it will even then be sure to bring you bad luck; it is therefore better to break it or throw it away". You have been warned! Regards Clive Sinclaire

There is a Takahashi Yoshimune description and oshigata, which once belonged to me, on http://www.To-ken.com. Go to UK Sword Register, No.63, but I understand you may actually want Yoshihara Kunie? Regards Clive Sinclaire

Ford To say that you proceeded knowing that you were wrong hardly makes you right. I can think of many adjectives to describe such an approach, none of which are flattering or would be expected by our own Van Gogh (I choose the similarity advisably) of modern art in metalwork. Clive Sinclaire

Gentlemen I also know this piece and I am sure that FORD IS WRONG! (possibly for the first time in his life) as it is Juyo Token and not Tokubetsu Juyo. It is supposed to be one of only two naginata by this man to be so designated and it is the better of the two, I am told. I have written about it and drawn oshigata that may be found on http://www.To-ken.com Go to "Articles" and it is entitled "Koyama Munetsugu by Clive Sinclaire". Incidentally, I also own a katana by Koyama Munetsugu that was originally polished by Tony Norman. It turned up at a local Arms Fair that I was unable to attend and was bought for a mere £400. Apparently it changed hands twice on the day and ended up at £1400. By the time it came to me it was a 5 figure sum but still an incredible bargain (these things are all relative, of course, a bargain is not necessarily just cheap). It was exhibited at the NBTHK's Japanese Sword Museum at Yoyogi in December 2004. I have seem many swords by Koyama Munetsugu but none to equal mine except for the aforementioned naginata. It is also described, illustrated and there is an oshigata in the same article as the naginata. Regards Clive Sinclaire

Gentlemen How can you have ignored David MacDonald's excellent Nyusen tsukamaki, described as "Unusual cord moro-hineri-maki tsuka-mae" which was also on show at the SF Taikai! Shame on you. All of these are illustrated in the NBSK's booklet. Clive Sinclaire PS I tried but I never seem to be capable of uploading images, I guess its old age technophobia! By the way, if any UK members were considering attending the Birmingham Arms Fair on Sunday, I have been persuaded to drag my sorry arse up the M1 to do an informal chat on Hizen-to. I will be taking about 6 swords to illustrate the talk and would be happy to see you there.