Lukrez

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.

So you can't open them?

I am reaching out to request your valued insight regarding a katana attributed to Kencho, one of Chogi’s most talented students, from the Nanbokucho period. https://drive.google.com/drive/folders/1Gq4PjjbG2COquNmAn3zPD29yWcFiuTZN?usp=sharing Kencho’s work is often difficult to distinguish from that of his master, Chogi, due to the strong similarities in their styles. Indeed, many blades originally attributed to Chogi are believed to have been crafted by Kencho. Kencho’s swords typically exhibit certain features derived from the Soshu tradition, including a broad and powerful sugata, a shallow sori, and a thick kasane with minimal hira-niku. The steel is often soft, composed of an itame-hada mixed with mokume, and exhibits a dense, tight grain with nie forming chikei—a notable feature, particularly given Bizen’s soft steel. In some works, one may observe utsuri, though it is not common. The hamon is usually nioi deki, with pronounced nie, and the ha is often rich in ashi and yō, featuring sunagashi, inazuma, and kinsuji activities in blades with an abundant presence of nie. In light of these characteristics, I would be most grateful for your expert opinions on whether this katana in question can be confidently classified within the typical output of Kencho and Chogi. Does it align with the distinctive features associated with their works, or are there any notable discrepancies that would warrant reconsideration? Additionally, I would appreciate any feedback on the overall condition of the blade and its authenticity based on the details provided. I am eager to learn from the collective expertise of this esteemed community. Thank you very much for your time and insights.

Nomen est Omen😉

I would like to thank you for the many feedbacks and observations. In my research, I came across a katana by Masamitsu with very similar blade characteristics, unless any of you have an objection. Are there any plausible theories as to why in both cases the mei was partially removed, so that only the origin remains, but not the smith's name?" https://www.aoijapan...th-nbthk-juyo-token/

I like to thank you for the numerous feedback, great clarifications, and insights!

My research resulted in the following preliminary conclusion, please correct me if I'm wrong: If you ask experienced collectors, you can summarize that the Nihonto market has changed and has become more acute, especially in recent years: Especially the market for high-quality, fairly priced objects seems to be completely empty . Furthermore the interesting stuff always remain in Japanese hands and is traded only among long-standing collectors and networks (understandable). Even Tsuruta-san (AOI), which has a great selection in terms of quantity and is accessible to Europeans, is said to be in the 3/10 to 6/10 range in terms of quality. Basically, as a nobody, you always lose out in this niche area "nihonto", especially since the majority get their blades over the Internet without being able to take advantage of the chance to look at the blades in real life (and photos are of course placed in such a way that kizu and rust cannot be clearly seen, or are even covered up with a horimino). Of course it's not just about owning the great works, but when you read and hear that only "junk" is being exported to the West, then you start to question your passion, at least for your own possessions. Buying directly in Japan also doesn't seem very tempting when you add up to 35 percent more for transport and customs clearance (Germany and Switzerland). Thanks for your assessments of the current market situation and potential future developments.

Interesting.

I guess a key point about the Jigane seems to be the less good polish, which is why the look of the Jigane can vary a lot, right? Even if you compare two identically interpreted blades from the same forge side by side. Does anyone have practical tips on what should be noticeable regardless of the finish of the polish, how to adequately identify the density and pattern of the forging structure? It doesn't work with old policies anyway, right?

Hello everyone, I thought so, I was just surprised that so many supposedly authentic artifacts are offered on the Internet. Seems to be primarily a dream factory where people's wishful thinking is played with.