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1. I think 妙を示し is referring to the smith's skill, so the emphasis would be that the variation shows how skillful he was. Kind of a minor point because your translation essentially carries the same meaning. 2. I wouldn't use Yamato spirit, because "Yamato spirit" is almost a set-phrase for 大和魂, which is different from what Tanobe is trying to say. I would suggest "Sōshū-den with some Yamato-den characteristics" 3. Confirms the attribution is maybe too strong here. Tanobe is convinced. And he's suggesting anyone who views these attributes will be convinced. But this is slightly different from confirmed. Again, a minor point. Something like: "The Sōshū-den with elements/characteristics of Yamato-den convince me (or "convinces one" since its better to leave in the 3rd person) that the sword is the work of so-and-so. Or, "leads one to believe" is another reasonable translation. That's my take anyway.

Hello everyone. For a few weeks I've been collecting detailed vocab (kanji) as a way to improve my reading skills, sort out a few longstanding points of confusion/ambiguity, explore topics I may have previously glossed over, etc. I've found some very nice sites in the process—this Japanese page has been great, for example—and found a few gaps in my academic knowledge that I am working on filling. On the one hand it's "just vocab," but on the other hand, really making sure I know what each kanji means and how it relates to others has been surprisingly illuminating. One such gap has been the deeper religious significance of many horimono. I could previously identify the motifs in a simple way ("that's Fudō Myōō, that's a suken, that's sō-no-ryū with a flaming pearl" etc.) but it is only recently that I learned of a few deeper connections bridging the many ken motifs. The following will undoubtedly be painfully old news to many of you, and perhaps woefully incomplete besides; but for the newbies and intermediates among us, I hope it may be useful information as it was for me. I rush to add that this is just an edited summary and amalgamation of many other peoples' work, especially this page. I will append as many of the sources I used that I can recall (with the most relevant at the top). ----------- 剣 Ken We all know (I presume) that ken are, in general, buddhist ritual objects in the form of a double-edged straight sword, often represented in various stylistic ways in blade horimono. Of particular interest is the distinctive "vajra" hilt. But what is a vajra exactly? 金剛 Kongō (vajra) Vajra (kongō in Japanese) is a sanskrit homophone for both lightning and diamond, symbolizing unstoppable force and immovable spirit. The physical vajra is ostensibly a weapon, but like the ken is really a ritual object, meant to overcome evil via the indestructible truth. It is symmetric with a varying number of prongs at a given end. One (dokko), three (sanko), and five (goko) are typical; three is most common. It often has demons' eyes running down the center, and lotus blossom patterns to either side. 独鈷 Dokko (Tokko) (single-blade vajra) This motif also represents a spoke in the Buddhist wheel of law. This is not directly related to the following items, but as it is a motif sometimes seen in horimono/menuki, it is worth mentioning. 三鈷 Sanko (trident vajra) The sanko represents the three jewels (sanbō 三宝) of Buddha, Dharma (law), and Sangha (community). This is the common form used as the hilt for certain kinds of ken. 宝剣 Hō-ken (treasure sword), 三鈷剣 Sanko-ken, or 金剛剣 Kongō-ken (vajra sword) So now we have come full circle and have a little bit better understanding of what the hilt of a ken is, and why this form of ken is called hōken or sankoken. But what is the significance of turning the vajra into a sword? 不道明王 Fudō Myōō (literally "immovable wisdom king") Acala-vidyaraja in the original Sanskrit. A worthy accounting of Fudō's meaning and importance to Shingon Buddhism would be impossible here, but we can address some basic points. The highest of the Wisdom Kings, a category of deity following Buddhas and the Bodhisattvas, he is a manifestation of the Buddha Mahāvairocana. He is wrathful in the pursuit and eradication of evil from men's hearts. Wreathed in flames, he burns away earthly ties. He has blue skin, and sometimes even crooked fangs. In his left hand he holds a kenjaku 羂索 (five-colored lariat) used to bring wanderers back into the true path, or to bind harmful emotions. In his right hand, he holds the kongō-ken 金剛剣. If the kenjaku should fail to restrain men's violent passions, Fudō can cut their earthly ties using this sword. Thus the hōken is a means by which Fudō cuts through delusions and overcomes evil. For this reason, this sword is also called the chiken 知剣 — sword of wisdom. 素剣 Suken A stylized representation of a ken blade. As far as I know it has no further significance other than that inherited from the above points. However, as in the second image, sometimes it has a base with a tsume 爪 (claw)—specifically that of a dragon. Which brings me to… 剣巻龍 Kenmaki-ryū (dragon wrapped around ken) or 倶梨伽羅剣 Kurikara-ken (dragon king sword) Another common horimono theme is the dragon wrapped around a ken. Sometimes it is wreathed in flames (sound familiar?). This is not simply an arbitrary mashup of images: There is a legend that Fudō was challenged by another deity. They both manifested as flaming swords (ken) and found they were evenly matched. However, Fudō then transformed into a dragon, wound around the other sword, and ate it from the top. Thus, the dragon-king Kurikara 倶利迦羅 is actually another representation of Fudō Myōō. On a related note, Kurikara is golden in color; thus, depicting him in actual gold is not just for materialism's sake. ------- I invite everyone's corrections and comments as I was only peripherally aware of these themes before doing this research, and am still quite a novice when it comes to the deeper religious dimensions of horimono. There are many other interesting connected themes in other horimono, but I wanted to focus on this variety tonight. I hope it has been of interest! Regards, —Gabriel -------- Sources include, but were certainly not limited to: http://world.choshuya.co.jp/engrave/index.htm (most images) http://new.uniquejapan.com/glossary/ (the image of the ken) http://nihonto.ca (the image of the suken) bujishugyo.wordpress.com (connection between Fudō and Kurikara; Fudō image) http://www.onmarkproductions.com/html/o ... senju.html http://www.aisf.or.jp/~jaanus/deta/k/kongousho.htm http://www7b.biglobe.ne.jp/%7Eosaru/index.htm Connoisseur's (Nakayama) Harry "Afu" Watson's glossary (Nihon Tōkō Jiten etc.) http://www.thejapanesesword.com/terminology Wikipedia (yes, I know…)

I've added a red love-heart necro 'like' to the OP original post as I cannot ever remember seeing this thread/article before, more so as I have a lovely Echizen Shimosaka kiriha katana with very well executed horimono. I shall now read the entire thread with very close attention. A belated thank you to Gabriel. Dunno how I could have missed this and I wonder how many 'old' threads could do with an occasional update for newer members. BaZZa.

Did anyone see the four sets of gunto menuki for sale on Jauce recently ? Each of the sets had a mon on the middle of the menuki as you would see on a high quality gunto mount . To my eye the silver mon looked a bit thicker than usual and they didn't have the stippled effect on the cut away areas that you see on the real ones. I decided that they were reproductions but there were 119 bids and someone liked them well enough to pay 41500 yen for them . If they were really left over WW2 stock then it probably shows that some of the Mon, we assume are family Mon, are just something nice that was picked out of a dealers stock. Today I saw four more sets for sale which reinforced my view that they are modern reproductions I put this up as if it isn't bought to light people will soon believe that these are genuine old pieces ( like the mon on the 1944 pattern sword ) Ian Brooks

The surrender took place on USS Panamint (AGC-13) on 1945-09-09 at Ōminato, Aomori Prefecture The links below will provide background information and pictures of the surrender. Vice Admiral Ugaki can be seen at the crew photo link along with his signature at the bottom link. USS Panamint (AGC-13) USS Panamint (AGC-13) Crew Photo Collections ORIG WW2 Japanese Surrender USS PANAMINT Navy ship booklets-1945 Japan-vtg-photo

If the press release and plaque is correct in that it is coming from the Commanding Officer of Japanese Naval Forces of Hokkaido and Northern Honshu, then the sword belonged to Vice-Admiral Ugaki Kanji 宇垣完爾, commander of Ōminato Guard District 大湊警備府 from 1945-03-15 to 1945-11-30. Ōminato Guard District

Hello friends of the Nihonto Community. After some serious consideration once more. I have decided to list my Ono Yoshimitsu Daisho for sale once more. I listed it once during christmas and changed my mind afterwards. But ultimately, I have decided to let these move out of my collection to make room for others in the future. I originally bought these from Darcy Brockbank who listed these as a consignment for once of his clients. This was an custom ordered Daisho by the Mukansa smith (he's a genius) Ono Yoshimitsu. Grab it before I change my mind again haha. All the details are in these write up by the late Darcy Brockbank. In my opinion, that man wrote and displayed one of the best sword dealing websites I have ever seen. Reading his write-ups was one of the most enjoying past time for me. I would spend hours on his website. He has described these blades perfectly. Asking Price 74,500 AUD ONO.

Thomas: This picture illustrates why I believe the tsuka has been rewrapped (or I suppose replaced). The section on the right is the original condition. You can see the same and cord wrap with exposed chuso. The section on the left is the way it is now with the green ito covering the same and the chuso. John C.

The tall officer in the middle with glasses is General Hoshino, his sword was sold some time ago: http://www.guntoartswords.com/010802.html

I believe that a shoji-mei / special order inscription would only appear on the sword that is given to that owner. The kageuchi would remain unsigned or signed differently.

I hope @Noah is fine with me posting his photo here as it is a beautiful example of what has been discussed in this thread.

A company grade tassel with general grade stitching in a silver colour thread.

Also, not to detract from Noah's discussion (and Brian can move this to the Gassan thread, if appropriate) but I was comparing Noah's blade to another found by @Stephen for my kakihan files and the inscriptions on both sides are the same, even the date of February 11 1937, yet they are clearly different blades! The other one is posted HERE and is fully polished, shiny habaki, posted back in 2016! I seriously doubt Sadakatsu could make 2 blades on the same day (Ok, I know it took many days to make a blade). Why would they both be named the same name for the same family with the same date? Is it possible the family commissioning these blades wanted 2 (or more) for gifts?

One more to add to the list from the 'National Gallery of Victoria' [Australia] Sword guard with horse design (Shinme zu tsuba 神馬図鍔) Edo period Artist name: Masatoshi Medium iron, gilt, copper Measurements 0.6 x 6.9 cm diameter Place of Execution Bushū, Accession Number 2265-D3

Nice Ama-ryu. I like this tsuba, and the tagane may be hitting on the thickest part of the iron, to help squeeze the walls of the nakago-ana slightly closer together... (?)

For the ultra rich out there in fairy land - Diamond studded credit card! The tsuba is easier to see when the card is rearranged:

Probably. But I think it is not too distracting, so it remains an interesting TSUBA, I think (AIZU SHOAMI ?).

I think these are water dragon.

Good spot, Simon. They may also be US made examples, as the Japanese copied the Sam Browne belt design. It is always safer to purchase the specific Japanese versions just to be safe. A few different types can be found here:

Well I be darned, that is his signature below that of Vice Admiral Ugaki. The plot thickens! 星野利元 Fiftieth Army (Japan)

Perhaps Tada(hiro) and suriage for a kyugunto koshirae.

Hi Bruce, that is the small paper reinforcement in all tassel sliders.

Yeah, but Baba, you made blanket statements when that is not the actual reality. Judge each sword, judge each polish, on their own merits. Try to get past likes and dislikes for just for the sake of each. Regards,

So, Baba, when Tanobe san recommends a polisher, and that polisher performs a hadori polish, and then that sword passes juyo shinsa, the entire exercise was done for the benefit of the masses, is that right? And exactly who are these purists? In the past I have seen swords polished by NLT Ono Kokei, Kajiwara, Yoshikawa, and very likely Hon'ami Koson, and they were all done in hadori. Are you suggesting that these polishers were not nihonto purists and didn't understand what it is that they were doing? Or that perhaps they were catering to the masses?

Actually, FUKURE are not 'air pockets' but welding faults, often filled with small amounts of slag which prevent the metal layers from welding properly together. Let's calculate a bit: KAWAGANE is traditionally folded about 12 times. In a 7 mm thick blade, you will find (theoretically) at least about 4.000 layers which results in a single layer thickness of 0,0017 mm. Or, with other words, a human hair (western part of the world) is 40 times thicker than one steel layer in an average sword! Now when s**t happens and the swordsmith did not get a complete weld inside his steel bar, it may well be that this KIZU remains unnoticed until the very flat blister is opening up in the course of a grinding/polishing process. This can happen easily in case a sword blade was allowed to corrode considerably. Only small defects can be treated with an UMEGANE. In the above case presented by Axel, there is not much you can do about it - except looking at the other side!

Despite the automatic message recommending we start a new thread, I reckon we have enough boxes to keep it going for a while yet! Recently I sourced a medium/large box that is covered in Kinkarakawa. The dealer kept repeating that it is probably from Muromachi, but if what he says is true, that must mean that the gilded leather is even older. In fairly.... good condition, relatively speaking. 37.5 cm x 24 cm x 11.5 cm high. Black lacquer inside, with a tasseled broad silk ribbon tie. If you include the top and the bottom, it has 10 facets covered in a variety of Dutch, Spanish, European (?) Cuoi d'oro. Would probably need an expert's eye to see what it is.

Just about packed-up and hitting the road for Louisville, Kentucky. Please stop by and say hello if you see me set-up. I will have samurai Bob sitting on the table waiting to say hello. i will post pics of the Show of Shows and the National Gun Day in this thread.

@Stegel the tassel is made from silk and the stitching is the same pattern as the General tassel. It's difficult to catch on camera but is visible in hand. I say it is likely early because of the heavy fading and early tassels had issues with the dye running/fading with water contact. This tassel was on a sword for along time and has all the signs of appropriate wear as such. This photo may show the same pattern as a General tassel:

One thing I have found myself attracted to is old Japanese boxes, plain wood, bound in iron, lacquered, etc, from simple and practical up to fancy. Well, not so fancy; the old purse kept my own feet pretty much firmly planted on the ground. Sadly they seem not to be highly treasured in Japan today; many must have been lost over the years to neglect or whatever. Lacquer is a good example of something really practical and beautiful, expensive when new, and yet so unloved when second-hand. Japanese houses were for the main part without furniture and as I understand it, necessary objects were fitted by the house builder carpenter, not by separate furniture makers. Only richer people could afford to have moveable objects around the house, so furniture was a sign of growing wealth. (Should we keep chests of drawers to a separate thread, or allow them in here too?) If anyone wants to add comments or photos to this thread, please do. I was contemplating smallish boxes, say up to knee-height or the size for a set of armour. Oh, and katana-bako are OK!

Hello again from the UK. Bought this one recently on eBay. (That was brave of me!) Reminds me of the large crab tsuba I posted a few days ago. I really like it…..the sinuous “smooth dragons” are beautifully depicted. Very vigorous. The rust isn’t as bad as the images suggest….I’ll sort it out. H8.8cm W8.8cm T4mm at raised rim Any views, comments, opinions on age/school etc will be very gratefully received. Thanks for looking. All the best Colin

㋕ W 京

These two photos side by side make it look like separated daisho but that's probably just a photo size illusion.

An old thread from almost 10 years ago...time flies. The subject just came up in another thread. I'll repost it just so newer members can enjoy the read. Mark

Nothing more than a day set aside for doing mei. Could have more done that day too....dont mean im right just a thought.

Unusual for a museum to add useful information!

Many thanks for your comments Steve! For completeness I'll include a picture of the other side as well: 濃刕志津 Nōshū Shizu 刃長九寸余 Length: a bit over 9 sun 时在癸卯秊如月 Dated February, year of the water rabbit (2023 CE) 探山識 「花押」 Written by Tanzan [kaō]

A friend shared this field grade tassel he had many years ago:

鈴，one of the inspection mark for Type 30 bayonet, this one could be the inspection team’s (鈴木） name. There are other kanjis as well,菅，石，原，松，齋etc. @Bruce Penningtonthe 和 mark on the type 30 bayonet has no connection with the ones on the 偽軍刀. There are also the W mark and big M an mark on the pommel of the early type30, and it doesn't look like the M/W mark on the Guntos.

Jonathan. This might be a long shot but there is another plain iron guard with the signature "Kunihiro" that doesn't look a thousand miles from what we can make out on yours? It is signed in a different location on the guard however. https://www.jauce.com/auction/x1082843864

John, with an x-ray device experts can restore a ground-out serial number on a gun as this is stamped-in which causes structural changes in the metal. If - as I assume - your TSUBA's MEI was not chiselled but cast-in, I don't think that the above method would help. .

There is another "Matsumoto Sadamitsu" listed in the Chū Saku (Jōkō no retsu) list above the one you posted. This Chu Saku Sadamitsu is the one Markus refers to. The Sadamitsu in the Ge Saku list may be a typo (since it is unusual to see same exact name appearing in two lists - although they are fairly common names). That site was made by Dr. Jinsoo Kim @ashibagou, who occasionally pops in here. Maybe he can help out. Markus also mentions a Kōno Sadamitsu (河野貞光) from Fukuoka so this is another possibility. I think the scholarship on these smiths has progressed a bit since Fuller and Gregory's time, and their entries for Sadamitsu are so vague that they could all be pointing to the same person. Its also slightly unusual to see them using the old province name (Settsu) for a WW2 smith. Settsu is Osaka, so I kind of feel like this entry is pointing to Gassan Sadamitsu (who was from Osaka). I don't know anything about the Nara Sadamitsu. I also think its completely normal for all of these WW2 era smiths to be making/inspecting/approving arsenal blades (with the exception of Gassan Sadamitsu). I mean, that was their job, so it would be normal to see an arsenal stamp on a Matsumoto Sadamitsu blade. Edit: Maybe @mecox has some info on the likelihood of the Sadamitsu in this thread being Matsumoto Sadamitsu, or if there were two such-named smiths, or any other pertinent info.

As Dawson states these examples would be early - mid war fittings/ accessories, if they were a "misprint" I would like to believe they would have been scrapped and not passed an inspection. It isn't out of the question for these zig zag patterned naval tassels to be special order for wealthier officers and might not show up in regulations. As Neil stated there are plenty of variants and fittings not described in regulations, and I believe that one could customize their gunto how ever they wanted and play loosely with the regulations as it made the gunto more personalized, compared to something uniform where personal attachment may not be a strong.

Very Interesting, and a nice find John. Dawson mentions zig-zag stitching, but he hasn't shown us an example. Do we 'assume' it to be the same as an Army Generals in appearance?? From what i see of your very nice example is more of a 'band' in one direction, and a haze in the other. So not a true zig-zag when viewed vertically from above. Does it appear to be made of silk as we would expect, or a cotton?? I have an example which i found on a Pattern7 NCO sword, which i believe is cotton, not silk, as it doesn't have the 'shine' to it . Mine is a darker colour but the stitching has more of a haphazard appearance than a 'zig-zag'. Up close it has a 'fur' like look of a worn rope. Untortunately, the actual tassels had been cut off. (which i had heard was one of the practices some Japanese did upon surrendering their swords) I think DaveR is right though, it needs to be mentioned in the Navy uniform regs, until then i think we keep our fingers crossed and put it down to a manufacturing anomaly. The nature of the weave itself, lends it to diagonal threads and hence zig-zag like stitches, when one or more spools of thread in a different shade are used. I hope all collectors are scrambling to see what they have, and more of these show up! I've never actually heard of this with navy tassels before, but now yours is only the second example i've ever seen. What other references apart from Dawson mention this?

These round (usually) "hokai" containers are interesting, and good for storing jingasa and hats in general. A few years ago there were a lot of antique examples for sale in Japan, now I do not see them very often. I have read many different uses for them including this one ("containers (kaibitsu) used for the kaiawase game. The matching of painted shells symbolizes faithfulness in marriage. A shell game set belonged often to the trousseau of a bride.")

Here's another box I've always loved. It's a tomobako for one of my jizai okimono - an iron grasshopper by Myochin Munenaga. Look at the quality of the box!

I don't know how I missed this thread - great topic and some great examples of boxes! I just acquired a daimyo-level jinbaori and the box it came in is very nice - thin wooden construction covered in leather and then lacquered. Aoi mon and interesting beveled shape too.

The wife is definitely a restriction on collecting such things, but she went overboard on chests of drawers so that gave me some leeway/ammunition. Tidy little collection there, Tony. Loving the handles on your chest too! Here is a lacquered and reenforced rather battered box probably carried on the Sankin Kotai, for food? One side lifts up, and lacquered drawers are pushed out through fingerholes in the back. The top becomes a high-sided tray.

Piers, There is a great love for these, just not so much in Japan. There are premium shops in San Fran and NYC importing them and selling them. Some people collect the highest one ones depending upon their purpose and little features like whether they have original iron wheels. While not as deep a topic as Nihonto or Netsuke, it certainly has its appreciation. Until we settle down in a major city, wife has restricted me to 2. I also have 3 antique kake. I only have photos of this one, which is dated on the bottom with the shop of manufacture and the date 1753.

This one has a long single drawer inside with an iron ring pull, large enough for a Tanto and koshirae. Not sure what its original purpose would have been. Has original key. No brushwork information or date, but reeks of Edo to me. Perhaps early 1800s with that type of lock?

Well done Gabriel, what an excellent read. I would like to turn that into a pdf article if ok. Also, I suspect the JSSUS would love to use it for their newsletter Thanks for that, you are a natural researcher. Brian