cabowen

Ikkansai Yoshihiro maybe....

I think once they have a mekugi-ana, signature, finished nakago, etc., they are considered "swords" though it may be just hamon and mekugi-ana....I think it might be open to interpretation. The stashes I have seen weren't drilled and without signature and yasuri-me. I will ask next time I talk to a smith.

No one tracks how many are actually made. A smith can make all he wants- but they can't be finished as I understand it as once they reach a certain stage they need to be registered. It would be normal for a smith to have a reasonable number of blades in various states of completion around the shop, and this is what you usually see. While I can't speak for all of them, some of them I have known have a stash of blades nearly finished that they can pull out, complete, and sell when an order comes in. The limitation is on how many they can register (and then sell) a month. Unregistered swords are illegal. If a smith is caught selling them unregistered, he would likely loose his license and face criminal charges.

I agree with Brian- this one has potential. Judging by the way the hamon ends, I think it is ubu/mumei. I would say possibly koto. Meguki-ana placement seems low for a later katana.

They don't track each blade made, only each blade sold as they must be registered. I can only assume that there is a database containing all the registration numbers.

They could probably make 12-15 a month if allowed. They are not happy about it, but it beats not being able to make any...

They can only register two long swords a month, or three wakizashi/tanto, as I recall....

The fuchi-gashira are not standard WWII Japanese military pattern. The handle has been rewrapped and incorrectly placed two menuki on one side of the tsuka. The tsuba looks a bit thick. I am guessing this may be a non-Japanese made item. Show us pictures of the blade and nakago to be sure...

I have talked about this topic at length with several polishers, including several mukansa polishers. For what it is worth, I have been told to not use uchiko on a freshly polished blade and to use the microfiber to wipe the old oil off and clean, white, cotton flannel, washed, to reoil the blade as needed. I was given a microfiber cloth by Fujishiro san to use, actually, and had my doubts. After using it, I wouldn't go back. Tissue paper can cause scratches as most is made from recycled paper these days and apparently once in a great while something remaining can scratch the blade. Have seen it happen. Use what works for you I guess...

Too many red flags, not enough quality. I would leave this one alone.

without better photos, it is hard to come to any meaningful conclusions. Knowing the issues others have had with this seller, I wouldn't consider it.

This hand written label stating the blade is a special order, in the usual sense, is incorrect, as is the comment that it was made in the soshu style. This was either done out of ignorance or, more likely, as you mention, dishonestly in an attempt to get more money for the blade.

There can be no doubt that a craftsman/artist, take Ford for example, will see these from a different perspective and perhaps value them using different criteria as well. As Ford mentioned, this piece displays a certain sophistication of technique and composition perhaps not so readily apparent to those who have not held a chisel or have familiarity with other aspects of Japanese art aesthetics. I don't think either Ford or myself have tried to build this humble tsuba up into something it is not, rather, we have tried to highlight some of the subtleties that differentiate it from rank amateur work, as someone has commented. The simplicity, as seen in the economy of line and the field of depth, and the execution, succeed in evoking a sumi-e/zen-ga feel. Being a big fan of sumi-e in general, and zen-ga in particular, I enjoy it- not as a masterwork, but as a simply, honest, unpretentious work that, while not aiming high, does hits its mark nicely. Of course, we all have our own tastes and, thankfully, they can and do differ. There is a difference, however, in poo-pooing something because it isn't to our taste, i.e., for subjective reasons, and doing so on objective grounds. The latter I think is what hooked both Ford and myself into the conversation.

Those with that logo are early ones from what I have been told, and were frequently given to important people as gifts. Kind of the "presentation" grade Mantetsu-to.

Masahide made use of the koku'in quite frequently. There are probably a few smiths who did so on occasion earlier. We see stamps in Tempo tsuba so the technique was not limited to swords. In Showa, we see Kasama Shigetsugu use them frequently on blades made at the estate of Toyama Mitsuru. We see them used by several Seki smiths as well.

Nice sword. Restoration is more a matter of money than time. You should figure on $3500-$4000 to do everything properly. Anything less and the sword will in all likelihood be ruined. There are only 2 professional, properly trained polishing/restoration experts in North America. From what I can see, this sword would probably be worth the cost of restoration should you decide to pursue it. As has been said though, you should have someone with experience look at it beforehand though as there may be issues that would make restoration a non-starter. If you want further information, you can either search this site or pm me. There are several people who have relationships with professionals in Japan who can handle this for you as well. As for time, it usually takes a year or so if you send to Japan, about 3-5 times that if you have it done by one of the two individuals in the US/Canada. Should you decide to leave things as they are, please read up on the proper care and maintenance in the FAQ on this site. Congrats on your graduation and an excellent gift from your Grandfather.

Etchu and Bishu are different locales so I would guess that the book is about a different group of Akebane-to than that mentioned by George. At least, on the surface...

Dagger is not a tanto. It is not Japanese.

looks like fuyu 冬 to me but I find no such smith in the Meikan....

It isn't flashy and isn't aspiring to something lofty, but it succeeds with me in its simplicity, the suggestion of distance, the rather unusual depiction of orchids.

I do not if any have been returned. They were all, reportedly, higher grade swords. That's why they were saved.

I agree and that's why I was focusing on the tangible (the result), not the intangible (the mindset)....

I believe you are referring to the so-called Akebane-to. These were swords confiscated after the war and then allowed to be kept by the Japanese government after they were sorted by Japanese experts and said to be culturally important. They were collected at the arsensal in Akebane, Tokyo, and then they sat in the damp lower level of a museum for 50 years rotting before the government finally allocated the money and the political will was sufficient to restore some of them. The restored swords have been the subject of an exhibit that took place around Japan some 10 years or so ago. It was a bit of a problem because some wanted their swords back. There is a lot more to the story, that is it in a nut shell....

Fake is simply something pretending to be something it is not. A forgery carries the nuance of something printed, written, etc., that is not what it purports to be and done without permission. A forged check, etc. A signature that is forged is fake. A signature on a sword can be fake (like the Chinese ones that make no sense) without being a forgery. A forgery would be someone signing someone else's name without permission. Make sense?

Have you considered the possibility that the sword was made by two smiths? Or, that one smith was signing the name of another after shortening the blade and removing the original signature? Both of these examples are seen from time to time. It is also possible that both of the above examples are faked as well.