Lukrez

.."I felt a sense of shock from which I never recovered..." Exactly—this is what I hoped to touch upon earlier. Call it bottom-up processing, a first-order experience, epiphany, shock, ... or use Scotus's definition (props to Mushin—cut to the bone ); it is a visceral experience that happens to you, a unique connection between the object and the observer, the gaze outward becomes a gaze inward ("du gleichst dem Geist den du begreifst"). If this can be learned, it likely comes closest to the concept of "Ishin-denshin", where the teacher acts more as a catalyst for the student, setting their process of self-understanding into motion (or elevating it to a new level). (Perhaps this was the role Darcy played for some forum members; at least, I got the impression that he was a good soul.) Then, it seems to me that there is at least a second, very interesting central path of top-down processing: the study of primary and secondary literature, the field of quote assemblage, hearsay, and the translators and autistic data collectors and data enthusiasts (I have the utmost respect for them). But also, and most importantly, the realm of fiction, self-worth, and the social sphere—in short, chaos. The social sphere, in my view, distinguishes the question of aesthetics (i.e., mastery) from questions about for example the essence of time or love. Aesthetics can, and often does, quickly become a socially constructed product. It can be easily manipulated and stretched. In this regard, the social dimension in the question of what is considered beautiful seems particularly relevant in a collectivist country like Japan. I would also place the following contribution here: ..."Paul relates that Albert Yamanaka held the opinion: Noda Hankei's arrogance was responsible for the blunt gracelessness of his shapes." Objective influences fade into the background, and the value of a work / a blacksmith becomes closely linked to the behavior of the social actors of the time— as well as the market, critics, curators, collectors, dealers, ... The exchange relationships between these actors play a decisive role, as they create an informal socialization around rules, trends, and the language of the market. Such network effects, especially in Japan, play a crucial role in the development of a smith’s reputation and how it is perceived in the market, an aspect I’ve so far given too little attention to, but I hope to engage in more exchange about. Specific signals, like positive evaluations by experts (the Honami family and their repeated crises of trust), protégés, peers, provenance, and familial relationships, imply a higher value. Must a sword be of higher quality just because it was owned by a famous Daimyo? The status of a smith or an artwork is negotiated through such exchange processes. This means that if a blacksmith had a great need for recognition, the ability to stage himself and his skills, and gain the support of wealthy patrons, he would enter the annals of history. But the opportunities for a blacksmith to rise, cannot be seen as entirely equal or chance-driven. In my opinion, it is 100% likely that there were blacksmiths who were nonconformists, obsessed with pioneering spirit, ahead of their time, uncompromisingly realizing their own visions and abilities, but who fell out for example of favor with wealthy contemporaries, faded into obscurity, and whose works did not gain recognition because they lacked the positive influences of provenance or similar factors. The influence of actors within the social system is determined by their status, which is, in turn, affected by their interactions with associated actors. Status, thus, becomes a self-reinforcing process. For many collectors and art buyers, interacting with the social system serves primarily to elevate their own status (how much status matters and self-worth is also frequently observed in our forum when the discussion quickly leaves the subject matter and becomes emotional). Many interesting perspectives have been outlined so far, and I look forward to learning more. I’m eager to understand more about the technical intricacies. What are the key points in Paul R. Allman’s work?

Thank you for the thought-provoking question! I believe this is a question that can be addressed on different levels and at varying depths. When it comes to the finer nuances and discussions of individual characteristics, I must admit that I am not sufficiently familiar with, nor have I seen enough masterpieces to truly understand the delicate subtleties that experienced eyes, honed over centuries, have agreed upon. Through this collective expertise, certain aesthetic values "Eigenwerte" have crystallized. I look forward to learning from the experiences of forum members and gaining deeper insights into the taxonomy and layers of information that distinguish these masterpieces. For now, I will approach this question from a very personal, somewhat rudimentary, and instinctive standpoint, one that has drawn me to nihonto even before I began to understand why certain blade characteristics, under specific historical conditions, might be favored while others are dismissed. If I were to seriously consider your question, Chris, my approach would primarily involve not actively categorizing layers of information, but rather passively experiencing a presence. When I look at a blade, without the weight of learned knowledge — without any understanding of time, smith, school, or historical context — the perception itself deepens, intensifies, gains body and volume. As Hugo von Hofmannsthal beautifully put it: "... die Worte haben sich vor die Dinge gestellt. Das Hörensagen hat die Welt verschluckt“. The view of certain objects, in this case nihonto, that some might regard as masterpieces, can best be described as an intensity of experience that transports me as an observer into a feverish state of mind. It evokes the naïve feeling that something sacred is before me, where the untrained eye might otherwise pass by with indifferent ease. This is a relationship not defined by representation, meaning, or concept, but rather by immediate, unmediated contact and presence. From a different perspective, I would call it "composition of trivialities" that becomes the source of an enigmatic, wordless delight (an epiphanic moment?). When one has not yet acquired sufficient technical or academic knowledge, the encounter with such objects is experienced as "thinking with the heart." Ultimately, the heightened attention to certain things, like specific nihonto pieces, goes hand in hand with a sense of self-forgetfulness and loss. The effect is palpable, dense, yet elusive. One is unable to place it, unable to name it, and the continuum of information is disrupted. Upon leaving the informational plane, it permeates and lands in an indeterminate zone of the self, eluding the cognitive control. I have to admit, sometimes, there is something beautiful in ignorance, in the blind spot. It is a place of imagination, and the object before one transforms into a masterpiece, even though it may be regarded as worthless by the majority. In other words, certain masterpieces impress precisely because they refuse to allow any attribution of defining qualities. They remain a secret. Other nihonto, which are commonly accepted as masterpieces, often represent visual information that does not evoke the same level of "affect" in me. The intensity of the gaze is missing. Only through study does the passion emerge. The underlying perception, however, I would describe as more extensive, additive, and cumulative. The enjoyment is akin to reading a lecture.

Thank you sincerely for your dedication and effort. Your selfless contribution is truly enriching, and we deeply appreciate the value you bring to us. Would it be possible to download all the files together, for instance as a ZIP file ?

Thank you for your private inquiry. However, I’m sharing my response here publicly so that other readers may also benefit from the information in the future. In my view, Supein Nihonto represents a seller type that prioritizes quantity over quality. In a perfect world, one would hope that dealers of antiques — especially in a field as rich and nuanced as Nihontō — are deeply knowledgeable and genuinely passionate about sharing the beauty of this art form with others. Unfortunately, the reality is often different: Many sellers follow a simple business model: buy cheaply in Japan (often the items that no one locally wants) and resell them at a markup to Western buyers who may have little experience and have never even handled a blade in person. That’s not to say you won’t ever find an interesting piece — sometimes you do. But it’s essential to research thoroughly and negotiate a fair price. Ask the seller as many specific questions as possible and try to learn everything you can about the item you’re interested in. Be aware that seller descriptions are frequently inaccurate, vague, or careless. If necessary, don’t hesitate to exercise your right to return the item. Incidentally, that’s part of the reason why many sellers are now shifting their focus to selling Yoroi, as these are often excluded from return policies.

Hi Lewis Thank you for your detailed message and the many helpful pointers — I truly appreciate it! I've also received a few valuable tips via private messages, which I’m grateful for as well. When you mentioned next month, I assume you were referring to the Japan Art Expo in Utrecht, June 13–15? That sounds fantastic, and I’ll make sure to attend! I really enjoy the publications from Pablo Kuntz and his team — the presentation is always top-notch. Unfortunately, the pieces featured are often already sold by the time they’re published. As far as I know, there isn’t a website with up-to-date listings of available items — it seems most offerings are shared through direct personal contact. The gatherings in Manching are much more accessible for me geographically than Solingen, so I’d love to attend one. Do I need to register in advance, or can one simply show up? As for similar events here in Switzerland, I haven’t come across anything comparable yet — if anyone reading this knows of something or would be open to getting in touch, I’d be very happy to hear from fellow collectors.

First of all, I would like to express my sincere appreciation for the many valuable contributions and the open exchange in this forum. It’s truly a privilege to learn from the knowledge and experience of others, and I’ve already benefited greatly from reading through various discussions. One aspect, however, that has been troubling me for quite some time is my own experience with several Nihonto dealers and auction houses, particularly in Europe, Switzerland, and Canada. I’ve also reviewed some of the forum posts from previous years, and it’s striking to see other members have reported similar concerns. Unfortunately, my personal experiences have frequently fallen short of the level of quality and professionalism one might hope for in such a specialized field. Issues I’ve encountered range from false or misleading specifications — incorrect measurements, for instance, Wakizashi being advertised as Katana — and when asked about it, the usual response is something along the lines of: “Sorry, I currently have so many swords that I must have made a copy-paste error.” In addition, I’ve experienced high-pressure tactics, such as claims that a dealer in Japan will only offer a piece at a specific price for a very limited time, with implied consequences for declining the offer. In some cases, translations of NBTHK papers have been questionable or clearly flawed, and attempts to clarify details have been met with silence or evasive responses. What’s more, it’s not uncommon for sellers with many years in the trade to present their offerings with subpar photos or poorly made videos, sometimes recorded casually from a living room — making it difficult to assess a blade properly and undermining the trust one would expect from a professional source. While I fully understand that not every seller has access to high-end equipment or production facilities, I believe that basic standards of clarity, honesty, and professionalism should be the norm — especially in a field that demands such a high level of expertise and historical sensitivity. As a result of these experiences, I’ve come to the conclusion that going forward, I will only purchase blades either during personal trips to Japan, where I can inspect them in person, or within the trusted context of this forum, where quality and integrity seem to be held in much higher regard. On a related note, I would be very grateful to learn whether there are any gatherings, meetings, or informal groups for collectors and students of Nihonto in Switzerland or southern Germany. I would greatly appreciate the opportunity to exchange knowledge and view pieces in person. I speak German, English, and Russian, and would be happy to connect in any of these languages. I’m sharing these observations not as criticism for its own sake, but in the hope of encouraging thoughtful discussion on how we, as collectors and enthusiasts, can identify trustworthy sources. I would be very interested to hear how others in this community approach these challenges and what criteria you rely on when evaluating dealers.

Who is the author? Is it perhaps the lady Ethel Watts Mumford, who wrote a book about Hand Reading???? Why does she have such extensive knowledge about Nihonto and Japan?

Thank you all, really appreciate your candidness. It's always interesting to hear different views from experienced collectors like yourself. You make a valid point about the Ko-Bizen attribution—I can certainly see how the compromised state of the sword would make attribution more challenging. I’ll take your advice to heart as I continue learning and refining my own understanding of the field. Thank you again for sharing your insights, and I look forward to any future discussions. Best regards

Thank you so much Rayhan, I truly appreciate the information you've shared so far —it is incredibly helpful. Best regards

Totally fine. However, I personally prefer a less rigid approach—one that encourages trusting experts less, speaking up, asking questions, and actively engaging in dialogue. As a neuroscientist, I always advise my patients to do the same. Especially in medicine, it’s striking how error-prone the human factor is—particularly among so-called experts. In recent years, “science” has unfortunately done itself a disservice and lost a lot of public trust. It’s more important than ever to encourage open exchange. That said, a deep debate between radical objectivism and radical constructivism doesn’t really belong here. For those interested, I recommend the book The Genesis and Development of a Scientific Fact* by Ludwik Fleck. It’s a great resource for developing critical thinking—especially when it comes to experts. Now, this might earn me some criticism, but nihonto—like any other art form—is more of a subjective or socio-cultural construct than a science. Correct me If I am wrong.

Anyone who is exposed to a growing flood of contradictory information will, sooner or later, have to begin thinking for themselves. In this context, the internet is one of the most important tools for the further development of human intelligence. Of course, randomized controlled trials would be ideal, but as long as they are not available, everyone should be allowed to rely on their natural human common sense. It is clear that a large part of Rivkin's observations are representative of a majority experience—and we can all benefit from that. Please continue sharing all viewpoints.

This is an excellent contribution, very useful —thank you for sharing it! Really holds up a mirror—had to laugh more than once! I've seen quite a few experienced collectors walk away disillusioned, saying something like, "Well, in the end, it's just steel..." Looking forward to seeing more from you!

Hey everyone, I’m still scratching my head over why the Hon’ami attribution was dismissed on this blade. It clearly shows pronounced kinsuji and a well-defined nioiguchi, which—at least in my understanding—would argue against a Bizen school origin. https://www.aoijapan.com/katanamumei-kobizennbthk-tokubetsu-hozon-tokenconsignment-sale/ Even more interesting: there are patches on the surface with no visible forging structure, which some have said is typical for Rai hada. That seems to further complicate the picture. Did anyone else notice this? Any thoughts on why the attribution didn’t hold? Would love to hear your detailed takes on this. Also, side note—anyone have a clue what material the scale pattern ist made of? By the was, why Honami Koson got a bad reputation? Sadly, I didn’t win it. It turned into a bidding war around 3 a.m. European time. Looking forward to hearing your insights!

During the Edo period, with the end of major wars, the necessity for utsuiri declined, and it was no longer commonly produced. So Utsuri can only be found in older swords, crafted before this shift. As far as I know, Kunihira Kawachi managed to recreate this technique, which earned him the Masamune Prize. What are the specific challenges in recreating utsuri, and are there other swordsmiths who have mastered this process?

Thank you so much for the detailed and insightful analysis! Your expertise has really helped me gain a much clearer understanding of the differences between Kencho and Chogi, as well as the condition issues with the sword. I truly appreciate the time and effort you've put into providing such a thorough evaluation, and I will certainly take your advice into consideration moving forward.