atm

The show is next week! Who is going? I will be there Friday and Saturday. I’m planning to go to a great ramen restaurant off the strip (Ramen Boys) on Friday night. Anyone is welcome to join me, and I will have room in my car if you need a ride there.

@Jussi Ekholm I am always amazed by your database. To add another data point for you, the 2007-2008 Bizen Ichimonji Tradition book from the Sano Art Museum has a Jūyō Bunkazai tachi of 74.5 cm from a private collection. In my opinion, the mei on the tachi in this book is different than on mine. This book does not state a date for its tachi, other than Chikafusa (probably several) spanned Jōkyū to Kōan, as @Lewis B points out from Sesko. Also, according to the Index of Japanese Sword Literature on jssus.org, Chikafusa is in the Zuikan Tomei Soran by Iida and the Nihonto Bizen Den Taikan by Okazaki. I am obtaining both of these books to further my research.

Thanks @Gakusee. I was indeed lucky. You certainly would have beat me to it if you had seen it earlier.

Per request from the Dai Token Ichi thread, here are photos of the blade I bought last November at the DTI from Tsuruginoya. It is a Fukuoka Ichimonji Chikafusa that has reached NBTHK Juyo Token. I apologize for my poor photo abilities. Capturing the intricacies of this blade is very difficult. To partially make up for that, here’s what Tanobe sensei said on the sayagaki (credit to @SteveM for the translation): Designated Important Sword (Jūyō) at the 67th Jūyō Session Bizen-no-kuni Fukuoka Ichimonji Chikafusa Shortened a bit (machi-okuri), with a two-character name purposefully inscribed with a thick chisel into the tang which has been slightly cut off. The sword has a dignified shape, with a standard width, a deep koshi-zori, and the tip of the sword ending in inokubi style. The forging pattern is koitame, with a clear midare utsuri present, and a lustrous chōji midare with “fukuro chōji” showing as double-chōji in the hamon. There are ashi and yo in abundance, giving great beauty and a rich variety. This sword displays the elements of this school at its peak in the mid-Kamakura era. There are several swordsmiths with this name appearing in the indexes, which dates this sword circa Kenchō (1249-1256). This excellent sword is both a classic example of this school, as well as an outstanding item. Length 2 shaku, 3 sun, 2 bu (70.30cm) An auspicious day in November, 2024 Recorded by Tanzan (monogram) Interestingly, the NBTHK Juyo setsumei says, in part: “According to the swordsmith indexes, Chikafusa was a Fukuoka Ichimonji swordsmith, circa Jōkyū (1219-1222).” So there is a slight difference of opinion on which Chikafusa made this blade. In any event, I am quite happy with it. It was registered March 13, 1951.

I noticed that sword, too, @Pierre F. Here is a signed Juyo for comparison: Motomitsu. I saw it at DTI last year. It is an impressive blade. I think it is interesting that despite these two swords from the same smith being relatively similar in their current dimensions, one is signed and dated and the other is mumei. And there is a 6M yen difference in their prices. I think it is hard to pick out a first blade without seeing them in person. The way a blade feels when held says a lot, in my opinion, in addition to being able to better see its features. A sword show is a great way to do that.

You might be confusing @nulldevice with me—we both bought swords at DTI. I’ll try to post some photos of my Fukuoka Ichimonji Chikafusa when I have time. Chandler’s sword is really nice, too, and he takes way better pictures than I do!

Thanks for posting @Tengu1957. Do you have a translation of the Tanobe Sensei sayagaki that you can share here?

Congratulations @BKB5! I think it is an interesting blade and very nice koshirae. If it were mine, I would not switch out the tsuba since the two-tone tsuba matches the two-tone wari-kogai. Also, if it were my blade, I would ask Aoi Art to arrange for a Tanobe Sensei sayagaki if he agrees with the Wake attribution.

There is a lot to like about that blade, in my opinion. It would be one of the three I would want to look at if I were visiting Aoi Art with that budget. But as others have stated, you have to ask yourself why you want this particular blade, especially if you have that much money to spend. I think Kirikomi are neat, if they really are battle damage, but how can anyone say for certain? And not everyone appreciates kirikomi.

Not sure of your definition of cheap. The best place to stay is the Westgate, which is the show hotel. There is a room rate associated with the show. So it is both convenient and you help support the show.

What are you using to make the cuts, Emilio? They look really nice!

It was in the original listing, @SteveM, but it appears to have since been removed.

I am looking for volumes 27 and 28 of Fujishiro’s Meito Zuikan. I am open to any condition as long as the photos are clear. Even scanned/photocopied versions are appreciated. Not sure what these might go for, so I am open to considering anything. Thanks!

Interesting @PNSSHOGUN—that Tadamitsu wakizashi was for sale at Aoi Art for a couple of years. It sold in June of this year. Aoi Art had it listed for 6,000,000 JPY.

Both are possible. You can research blades advertised online that are of interest and then see them in person while in Japan. Seeing them in person is superior to online only. For example, you may find that a sword looks good in pictures but appears tired in person. And there are many reputable Japanese dealers who post much of their inventory online with prices. You’ll get that same price if you buy from them in person. English speakers at Japanese sword shops can be hit or miss. Aoi Art, Touken Matsumoto, Ginza Seiyudo, and Japan Sword are just a few in Tokyo that I know have good English speakers. Value varies, too. Some dealers have higher prices due to higher overhead, just like any other business. There are also really nice swords in the U.S. in your price range. You might attend one of the sword shows in Chicago, Las Vegas, San Francisco, or Orlando to see what’s available and to continue your learning. I’ve learned a ton by going to sword shows, asking questions, and examining swords.

AOI describes it as a karasu-guchi, which certainly isn’t to their advantage. And it does seem to be on both sides. Perhaps @Lewis B is right and it formed after shinsa. The 61st Juyo Token wasn’t that long ago. Really unfortunate if it happened in the last ten years.

I have wondered that, too, @nulldevice, especially when they reflect a multiple-body test. I only recently purchased Sesko’s book, so I haven’t read all its 378 pages. Here’s a partial answer from it about the process: “These special kiri-tsuka had not only the function to provide a more robust hilt but served also as additional weight. The heavier the blade the more power there was in the cut and the better a blade would cut into or through a target. Apart from that, kiri-tsuka were also used to test ko-wakizashi and tantō under the same conditions as long swords. Normally mounted, such blades are too short and too light to enter a test medium in a representative manner.” He also talks about using lead tsuba to increase the weight of ko-wakizashi and tanto. But I don’t yet know if he discusses the definition of a complete cut with these short blades.

While I am not interested in purchasing this Ryokai, I am curious about how it reached Juyo with the karasu-guchi. I had understood that to be a fatal flaw, like hagire but in the boshi. Is it because this is an outstanding example of Ryokai that even a fatal flaw like this can be overlooked in shinsa? It would seem to negatively impact the price, though. Any thoughts are appreciated.

Thanks for posting @Alex A. A friendly suggestion: you might generate more discussion if you offer more detailed thoughts of your own or pose a question. That would give others something to react to. Koto with saidan-mei are rare, but they are out there. I think I’ve seen 5 or 6 in the last year on dealer websites, including several on AOI Art. AOI has another one here: Taima Tomokiyo, although it is tired. I’d like to own a koto with cutting test, but I’ll wait for something better.

Nice job on the high resolution photos, @Lewis B. They show a lot of detail.

I talked to him about it on Friday. He is quite proud of the accomplishment of writing a book some others passed on writing. It sounded like a labor of love. I am not sure what you mean @lonely panet, Tsuruta-san and AOI Art have always dealt with me honorably.

I bought a Juyo signed Chikafusa (Fukuoka Ichimonji) tachi. I had identified a couple of other Ichimonji swords for my list, but I knew going in that one was out of my budget and another was a mumei wakizashi that was just average when I saw it in person. The other swords on my list were contenders and in budget, and I added to the list during the show. It was funny, I woke up Sunday morning telling myself to stop thinking about that Chikafusa because I could not afford it, and then a few hours later I was able to afford it thanks to Mike’s help. One other thing I just remembered—I was pleasantly surprised how willing dealers were to let me examine their swords, even multiple times. I tried to be somewhat reasonable about it by not asking to examine the crazy expensive swords. But I did look at some swords that did not have listed prices that turned out to be way out of my budget.

This was my first time at DTI, and it was a whirlwind trip from the US to Tokyo and back to the US in six days due to late planning. But I am so glad I went. Some impressions/advice for newbies: 1) There were something like 68 dealers. If you spend all 13 hours at DTI that it is open, you don’t have a lot of time at each dealer. And there were far more swords on display than I imagined. So I viewed dealer websites in advance, identified items I wanted to see, emailed dealers to confirm the item would be at DTI, and made a list of those items to prioritize seeing them. I had 10 swords on my list. I went to those dealers first and saw those 10 swords along with other swords at those dealers. Only then did I expand my search. I’m glad I had this plan. 2) Despite #1 above, I did not buy a sword from that advance list. I bought a different sword that a dealer did not have on their website yet. And I only bought it on Sunday, after I felt like I had seen everything I needed to see Saturday and Sunday to make a decision. 3) Relationships help a lot. I had met Mike Yamasaki at the San Francisco show. So when I saw him at DTI, I mentioned some things I liked. He took me to the dealer I eventually bought from, and Mike spent over an hour with me looking at a couple of blades he recommended. As the dealer was a longtime friend of Mike’s, Mike negotiated a great deal for me with no compensation for himself. I could not have gotten that deal on my own. It was the difference between buying that sword and not being able to afford it. Mike was super busy with other commitments and paying clients, but he was very generous with his time and knowledge. 4) Study swordsmith kanji. I am super glad I purchased the flashcards @Ray Singer sells and that I studied hard the kanji for smiths and provinces. Some dealers have English signage at the show, but many do not. If you can’t read kanji, you’ll be missing a lot. 5) I was amazed at the quantity, range of prices, and quality. Unlike US shows, there wasn’t much that wasn’t swords, fittings, or armor. Not much associated stuff, like books, videos, or prints. It is very heavy on blades. You want to spend a couple of thousand dollars—no problem. Want to spent a couple of hundred thousand dollars on a TJ Norishige, Yukimitsu, etc.—no problem. 6) Kudos to @Keichodo for organizing social after events while being also busy with the show. As I was traveling alone, being able to socialize with others and discuss similar interests was great. And Robert is such a funny and nice guy. But I agree with @CSM101, some therapy may be needed after what I experienced. I am sure I will think of other things as I decompress. I’ll post more as they come to me. And sorry, I was so busy that I forgot to take pictures.

I recommend hiring @SteveM to translate this sayagaki for you. His fee is reasonable and he provides a nice printable translation.