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Hi all, This is the first of what decided will be a semi-regular newsletter where I get to address issues, give current news, and generally make a few points. Apologies, but these will be mandatory reading as they will contain info and issues than need addressing. I promise to make them infrequent and informative if possible. Here are a few points I need to emphasize I am still seeing people replying to the notification emails they get when someone sends them a pm. In other words, you get a forum email saying "you have a private message from someone..please respond via the pm system" and then they hit reply and reply to the email. Folks, the recipient will NEVER get your reply. Email addresses are private here, so you can't email someone or reply to a notification. Go into your pm inbox and reply to them there. You CAN edit your posts for a certain time. I don't know why we get people posting, and then immediately replying to their post to correct something. Go to your post and click the 3 dots top right, and click edit. Then correct your post or spelling or layout or whatever and click save, bottom right. Layouts. Oh my goodness. When you attach pictures, they will automatically insert themselves at the bottom of your post. Please don't click "insert into post" unless you want the picture placed where the cursor is or specifically placed between sentences. Otherwise just click post. What we are seeing is that people type a sentence and leave the cursor in a random place. They then upload attachments and click "insert into post" which puts the image somewhere random at the cursor and has the text all over the place, or wrapping around the image. If you want to insert the picture somewhere, hit return after the sentence. THEN insert the pic. It will appear on the next line at least. And again...refer to the point above...if you see your layout is messed up, click edit. Go to the end of the sentence, hit return. This will fix the picture placement by adding a line down. Looks neater for everyone. Don't be lazy! Proof read your posts after placing them, and fix things that need fixing. Image sizing. There are file upload restrictions. Images don't have to be huge to be clear. But if you are uploading directly from your phone, they probably are. Find a free online image resizer. There are plenty. Resize down to less than 300kb...your image will be plenty big. No need for images that are 3 megs big. Also...please watch what format your phone uses. Don't upload Apple .HEIC files. Google how to take pics in regular jpeg. It's not difficult. If the uploader says your file is too big..it IS. Don't give up, this is 2023. Google image resizers, scale it down...upload again. Find a 10 year old to explain. They are good at this. Folks, this is not Facebook. And I am very glad about that. And unfortunately the reality is that everyone's opinion is NOT equal. That's life. If you are a beginner and you post a reply that says "X is definitely Y" then there will be other novices that take that as fact. Your statement does NOT hold as much water as the 40 year student of Nihonto that replies after you. So please bear that in mind when you make statements. Please remember to clarify it's a (novice) opinion. And consider that sometimes the person you are arguing with is 80 years old and knows a lot. It's funny to see people advising advanced tsuba collectors of 30 years what they have, when they are experts in the subject. Expect to be put in your place. Undoing the false info that is stated as fact takes time and energy and muddies the water. I'm not saying don't post opinions or challenge theories, I'm saying be careful how you do it. We have youngsters and ladies on the forum. Please watch the language and off-colour jokes. I'm as bad as the next guy, but I'd like this place to be a step above the usual bawdy bar. Let's all pretend we are more sophisticated than we are? Gold memberships: These greatly help the forum. Your $30 or $60 really helps to maintain this place, and allows everyone to get free info and to continue doing what we do. Please consider a membership. It's not a lot of money, and comes with decent benefits. You can find the options here: https://www.militaria.co.za/nmb/subscriptions/ Your support really is hugely appreciated. There are donations links at the top for people who wish to contribute via either Paypal or credit card. You guys rock! If you need any help donating or buying a subscription, just pm me. And if you are a Gold Member, please consider renewing when it expires. Newcomers: At the top of the forum is a FAQ section. Please check it out. It will be of help. To the right is a section that will assist people to translate things. At least give a try before you ask for help. We all started knowing nothing. Its a great way to make progress. There is also a ton of info in the 'Nihonto Info' section. Browse! Those people in charge of societies dealing with Nihonto or related: I am considering offering private areas where these societies can allow their members to communicate or share info etc, that will only be available to their member list. Please contact me if you have any interest in having a private section where you can share info or discuss society business and can have your own moderators etc. These can be done in various ways, from password protection to only having certain people access it. The software here is set up for that and there are various advanced ways to have "clubs" Please guys...support our dealers. Most of them are here because they can be generally trusted, otherwise they would have been called out. Also, if you list something for sale, and mark it sold, it is nice if you would mention if you sold it here or to a member, or somewhere else. Just helps us gauge how far we reach. Same...if you buy something from an overseas dealer, mention you are a member here and heard about them here, and ask if they have a NMB discount. Something I intended to investigate further. I am attending the San Fran Sword Show for the first time ever, in August. Will have a table on behalf of a local collector. It would be great to meet as many of you as possible. Maybe arrange a dinner or gathering. I am really looking forward to it. If you are going, please post here: https://www.militaria.co.za/nmb/topic/44379-san-francisco-sword-show I will also be in New York for 3 days around the 9th...so if anyone is near Manhattan and wants to meet up, please let me know. First vacation in over 10 years. I'm putting a lot into this, and hoping to make it both a successful trip for that collector, and also a bit of a much needed vacation for myself and Nicky who is coming with. With the above in mind, and considering our local currency in South Africa is approaching toilet paper status, I am shamelessly asking anyone who is willing to contribute a few bucks towards making this trip a success, to please use the link in my signature, or use this one: https://www.paypal.com/paypalme/japaneseswords if you are willing to assist with any expenses. Yes...I am really embarrassed to ask, but I want people to know that these funds will be used for the trip and not the forum expenses, for complete openness. Even 5 or 6 days free time is expensive on an SA budget. I really hate to ask, but asking is what I am doing. Anything is appreciated. I am also wondering if anyone would like to donate any items such as tsuba or fittings or similar that don't take up much space, that can be sold at the show and the funds used for the annual forum fundraising. This would be similar to the old days of a raffle, but instead they will be available at the SF Show. Please message me in private if you would consider this. Items can be shipped to a location in SF anytime from now, and held until the show. Happy to list the donors here with huge thanks. Please consider any items of reasonable value that would be worthwhile for NMB fundraising. I think we are going to need another mod or 2 to assist with this place. I hope John is doing ok, but there is a lot of work for Jean. I think I will appoint a mod or 2 that only handles their own specialty section. Like someone for the military section, someone for Katchu (is it possible to find someone impartial there??) and the translate section needs someone. There are obvious choices in each category, but need to check they are willing. It's a thankless job. Lastly (for now) I want to thank everyone here for their participation, patience (with me) and for all the help, support, information, uploads, kind words and everything else that we see here. Can't do any of this without you and there are a LOT of you that deserve far more than a simple thanks. Oneday I'll work through the list and properly thank you all. Remember that this is an online forum. It's all pixels on a screen. Don't let people stress you out. Treat people with respect, even if you disagree with them. Allow them their opinions. Use the report feature if something is grossly wrong. Let myself or the mods handle it. Let's keep on keeping on. - Brian -

A long term seller here....always making private offers to just about every newcommer who posts a sword here. Does MANY private deals over the years..always has plenty of items on sale. Posts SEVENTY tsuba for sale today. Not just one bulk pic....38 replies with pics of ALL of them over 2 pages. This combined with the 30+ other items already on offer. So when I hide the tsuba post and politely mention that maybe a Gold Membership would be appropriate for someone listing over 100 items here and who has never really supported the forum.... I get told that since none of the items sold, and that hosting fees over there in Europe are so cheap...it is implied that I am being greedy asking for at least some support? OVER 1000 Pm's going out regularly from this account. A second account already registered under a different name, already sending out hundreds of pm's. A fake name. A competing Nihonto forum in the works.... NO. I refuse to allow people to take advantage of this place and the people that participate here. From now on, people who take advantage and refuse to contribute....gone. And I WILL start to charge for abusing this place if it continues to be a drag on my finances. There is no reason I shouldn't gain some small benefit from the hours I spend here! Anyone who thinks I'm greedy for suggesting monetary support for what amounts to easy info and access to thousands of collectors and customers....you are welcome to try doing this yourself. Thank you to that German member who decided that listing over 100 items is not worth $60 a year. You're either very selfish, or a shit dealer. Either way, finish off your deals. Sorry for the outburst folks. But if I'm going to have to deal with stress like this, there has to be an upside. /rant

I'm proud to announce that the tsuba i sent for 2023 NBTHK contest for newly made tsuba got accepted and ranked 7th Nyusen (入選七席). Despite not being an high rank, to me, an amateur italian tsubashi with no teacher that got serious in making tsuba only few years ago, is a huge victory. My tsuba will be shown in the New Sword Exhibition in NBTHK museum, so if you'll have the chance to see it there, i'll be happy to hear it from you. This result encurages me to keep working hard to improve myself and to aim to higher ranks next years. Manuel Coden 古伝

This was just posted by Andrew Ickeringill ( @Andrew Ickeringill ) on Facebook, and I thought it was worth posting here, and pinning for the future. Andrew is a FULLY trained traditional polisher and one of the most qualified to make these statements. Before bringing up the subject on this forum, and risking a storm of fire, please read this and take it to heart. Amateur sword polishers… I know you probably won’t listen, but I’ll try anyway. Recently, I’ve been seeing more and more rubbish from amateur polishers on the internet, it’s not a new problem, but with social media being what it is, amateurs have been given a platform where they can prosper. It’s beyond frustrating, it’s infuriating, and it's working directly against what I'm striving for, the preservation of Nihonto. I’ve had to correct the damage caused by amateur polishers many times, and the damage is always severe. Correcting these hack-jobs takes a lot of work, and it means removing more steel than would’ve otherwise been necessary if the blade had previously gone to a traditionally-trained togishi. A traditional apprenticeship in togi takes years to complete for a reason, THERE’S A LOT TO LEARN! It means giving up everything else to spend your time in servitude to Nihonto. My apprenticeship was 12 hours a day / 7 days a week / for over 6 years, and even my spare time (what little I had) was usually spent studying nihonto. But if you want to be a togishi, this is the way it must be, you have to go all in. Through arrogance or ignorance or both, amateur polishers have completely forgone this necessary training. Some of them may have attended seminars in Japan, or visited a togishi for a few days… but this obviously doesn’t equate to traditional training. And for many amateurs, the bulk of their training consists of reading books and watching youtube videos of swords being ruined without a clue. Unfortunately, these videos receive plenty of misguided encouragement from those who don’t know any better… “wow, so shiny!”. Amateurs will often argue… “this sword isn’t worth sending to a pro, should we just leave it to rust?”… but how would THEY know? They haven’t been trained in kantei, they have no idea if a sword is worth a professional restoration or not. A cold chill passes up my spine every time I think about this, how many great swords have been ruined by amateurs? I know I’ve already seen a few in my time. If you’re an amateur polisher reading this, let me give you a tip… this job is not for you. This isn’t something that should be attempted by anyone but a traditionally trained togishi, and if you haven’t realised this fact by now, then you need to develop more respect for Nihonto and the craftsmen who have worked their butts off to complete the proper training. Please stop scraping the life away from these works of art, you’re doing far more damage than repair… this job is not for you!

Today I drove down to Kamakura to visit my friend Robert Hughes (well, being one of those jaded, elitist nihontō pricks, I don’t have any real friends, but Bob is the next best thing). After some hearty lunch next to a beautifully maintained Japanese garden we strolled to the Hongakuji Temple (本覚寺) of the Nichiren sect (日蓮宗). Ashikaga Mochiuji (足利持氏) built, and then donated, this temple to the priest Nisshutsu (日出) on the site where Nichiren stayed at after returning from his exile to Sado (佐渡島); the temple houses some of the ashes of Nichiren. A stone monument stands near the main temple in honor of Okazaki Gorō Masamune (岡崎五郎正宗). The story goes that when Okazaki Gorō, still a boy, came to Kamakura, Nichiren had already taken up residence in the Ebisudō (夷堂) Hall. Gorō 's father brought him to Nichiren to learn his teachings, and in return Nichiren gave the boy a new name, Masamune - which implies the rightness of the teachings of Nichiren himself. Nearby is a prayer column dedicated to Masamune, dating from the Muromachi period and finally there are the gravestones of Masamune and his son Sadamune; they date from the Nambokuchō period, and all inscriptions are eroded. To be fair, there are (yet) no hard facts or documents to support all this, only circumstantial evidence. Further research is needed to corroborate all of this. *** See, Bob, you censuring me for taking photos while you explained all this to me was totally uncalled for – I actually *can* multitask! Oh, and if I got something wrong, it’s only because you didn’t explain it correctly.

In the past, I have avoided specifically mentioning people to give thanks to, for the past year's help. I know it isn't thanksgiving, but here goes anyways. But I think it's time I mention a few people specifically, and send out a huge thanks for their help in the past. I KNOW I am going to miss quite a few people, and for that I am deeply sorry. There are many of you that we owe a huge thanks to, for either contributing funds to keep the forum going (Some of you so generous it amazes me) or for helping with info or translations or research or whatever. So even though I am forgetting many, I want to send out a HUGE forum thanks to the following members among others: Our moderators @Jean and @John A Stuart who have always been there for us for many, many years @SteveM without whose translation assistance we would all be in trouble. You sir, are the backbone of the Translation Section and by extension, the entire forum. Our wonderful Japanese members @Nobody @Bugyotsuji and @k morita who are invaluable to this forum and we owe you 3 a HUGE thanks. @Ray Singer who takes more time out to assist people with info and translations, than sell here. No wonder you have the reputation you do sir. Other dealers like @Grey Doffin @Mark @Ed etc who spend time educating people and assisting with shows or advice etc etc Our resident expert researcher and archiver and just all round nice guy, @Jussi Ekholm without whom, we would have a huge gap in our knowledge @Rich S who we owe a HUGE thanks for the start of this place, as well as the invaluable Japanese Sword Index The entire group from the Military Sword Section who have taken it upon themselves to compile more info on military Japanese swords here, than anywhere else. There is a staggering amount of info on models, serials, smiths, types and factories than published in one place anywhere. The way you guys co-operate to share info and compile it into articles or firm research is amazing. I am not going to mention specific names here, but ALL of you...and you guys know who you are. Absolutely fantastic! The members who write articles and share them freely for the benefit of the community. Here I have to single out @mecox @paulb @Bruce Pennington @zanilu @george trotter @GRC and others Our "vintage" members who stuck with us, giving advice and putting us in our place, even when the pressure took its toll. @Stephen @Ken-Hawaii @b.hennick @Bazza and others. You guys are furniture here....don't stray too far. As I mentioned, I am going to feel terrible when I realize who I missed. But I'm sure you guys know how valued you all are. So are ALL of the members. But sometime in the future I'd like to find a way to reward some of the names above. So to all of you, and those I missed, have a wonderful Festive Season and wishing you all a happy, healthy, prosperous and fantastic New Year. Brian

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.

As most of you know, I've been recovering from 2 surgeries for a perianal (embarrassing area) abscess that spread rapidly and they had to slice and dice me to remove necrotic tissue. Spent 8 days in hospital, and have been recovering at home the last 10. Slow recovery that makes sitting, standing and walking very difficult. At the same time I (finally) got diagnosed with Type 2 diabetes. I always pretty much knew I had it, but was stupid enough to wait for them to tell me. Anyways, it just makes everything more difficult, but I'll deal with it ok and am just lumping it into everything. That said, I think I am making some progress. Likely will be off until early Jan, and haven't been able to participate here as much as usual. But am monitoring and following everything. So...A big thanks to you guys for generally behaving yourselves and have seen some fascinating discussion, lots of sales and lots of good info and translations. I appreciate you guys removing some of the stress I anticipated, and am really happy with the way things carry on without micro managing. At the same time, I really do have to send a HUGE thanks to those of you who have supported the forum by renewing Gold memberships or sending some contributions for sales done etc. I was a little stressed about paying fees etc while I was laid up, but you supporters have really pulled though for me and taken a lot of that stress too. We have some great members here, and a bunch of new faces too, giving good questions and answers. And of course the old faces that are the heart of the forum that maintain the flow and strength of this place. So whether you didn't even know about the health issues and just carried on as you usually do, or whether you just participate with questions, answers or discussion, or whether you have supported us with subscriptions or donations..or whether you just lurk and read the forum....a huge thanks to you all. This is as good a time as any to wish you all a wonderful Festive Season and a prosperous New Year. Thanks to all of you, even the instigators who (in their own way) stoke debate and analysis. I'm here, just taking it slow and steady. Best to all. - B -

I just got informed that the tsuba I sent for this year's NBTHK contest got awarded Nyusen 1st! This is a great result for me as I ranked 6 positions higher than last year. I will keep practicing to improve my skills and hopefully get an higher rank next year.

Well, I'll be damned if I leave info on FB to waste away, so I am sure that @Andrew Ickeringill and @Adrian S won't mind if I blatantly plagiarize their posts and share the info here. Very happy to see that the sword that Adrian "discovered" a few years ago that eventually went Juyo to Go Yoshihiro, has now passed Toku Juyo. Wow...what an incredible find and story. And what a high praise for Andrew and his polishing. This is a masterpiece and a proud moment for both owner and togishi. Well done to both, I am sure we all share in your achievement, with a little jealousy thrown in

I have a dream to add one Naginata to my collection for a long time In the end, I succeeded and I think it's quite a nice piece So I share just for the pleasure of the eyes of nihonto fans Hizen Shodai Masahiro Mei: Hizen no Kuni Kawachi Daijō Fujiwara Masahiro Kanbun yonen nigatsu kichijitsu (February 1664) Nagasa: 40.8 cm

Darcy grew up in Windsor, Canada. He was one of 3 brothers. When younger, he worked in an automotive plant there. He would go onto McGill in Montreal to study Computer Science. He would start his own company and sell it to INTUIT during the Dot.com era. He bought a red Ferrari thereafter to impress the girls, but he rarely drove it. He preferred his dirtbikes, for which the local police gave him hell. He’d give them hell back. I’d visit him in Montreal. Generally, he was interested in the science of finely made things. Be it Scottish whisky, the chemical composition of rare gemstones, or nihonto, we would stay up late talking. When I went to Scotland, I’d bring him back some good stuff not available in the USA back then. He helped me design the wedding ring for my wife. We set it with a diamond he owned and I believe he was keeping for his own marriage. There was a pretty long haired brunette girl for him back then, but it didn’t work out. One of the many random memories I have is that he would do things like get a bunch of sleeping bags and give them to the homeless on the coldest nights in Montreal. We’d be friends for 20 years. We would meet up every few years and have a meal together, starting up again as if we had just seen each other last week. In recent years, life took us further apart- but I will miss the guy who could brutally argue statistics with me while we made hamburgers on a flame grill at 2 am. Curran

Greetings to All, Recently, I acquired a rather rusty tsuba as part of a deal for a Washida tsuba with another collector. This piece was thrown into the arrangement by the seller to meet the requested price range. Despite its condition, it showed some promise. The tsuba is signed Kyozan Mitsunaka + (Kao) ({嚮山 光中(花押)}) in kin-zogan. Based on the pictures, it appeared to feature brass hira-zogan of peonies and arabesques. Despite the rust, none of the inlays seemed to be missing - testament to the craftsmanship. The subject and execution also align well with works by Washida Mitsunaka or the Washida school. Seeing its potential, I decided to accept the deal, and both tsuba landed on my desk. Believing the piece was worth restoring, I sent it to Manuel @C0D for restoration, and I wasn't disappointed. Manuel did an outstanding job removing the rust and re-patinating the brass. If Manuel would like to elaborate on the restoration process, I would welcome it. The gamble paid off, as the final result is quite pleasing. As you can see, the tsuba has been brought back to life: I hope you enjoy it as much as I do. Regards, Luca P.S. I have to thank Manuel for allowing me to use the pictures he made.

Room 1 of 3. It's getting to be a bit much.

Hello all, If this is in the wrong spot feel free move it Brian. I just thought I'd share this here and provide some insight into this remarkable man. Hate him or love him he was indeed a unique individual. This is my meager attempt to express my feelings toward my teacher and dear friend. Thank you all. Ford Hallam At this moment in time I feel it important to somehow try to express what a huge impact Ford Hallam had on me and my life. It is plainly obvious that many other people have been touched very deeply by his generosity compassion, drive, intellect, diligence, humour, insight and his amazing skill as an Artist and Craftsman. I feel incredibly and overwhelming fortunate to have been granted direct access to that well spring. I cannot speak for anyone but myself, but he taught me, not only the Craft I now make my living from ,but also how to elevate that work into something more than just carving, sawing and filing. In the early days of the Iron brush forum I was initiated into this way of "seeing". He would critique and offer truly honest assessments of the work offered up trying to guide and I believe coalesce his ideas around teaching his art. Paralleled with that was his approach to how he went about making, as well. The Do, or Way of how to make was something that fascinated him. We spent many hours discussing the philosophy of the work and what that meant to him. His development of a Way of working directly that shared his view of the world, and his artistic expressions of it, was something that he diligently forged and eventually succeeded at brilliantly. I recall him telling me once that he was surprised that anyone would be interested in how he worked? He had honed these ideas over many years of work at the bench. Many of those ideas surrounding the aesthetic that he so successfully synthesized. As he coined it "uncontrived contrivedness". An extremely difficult concept to grasp, but one he was very passionate about. Some of the ideas were about ergonomics and the physical side of craft and came from his early training as a Goldsmith ,but also later from the first bout with his illness and ways to overcome it. He had a way of describing it all that was alluring and almost metaphysical, almost Zen to use a very overused term. It was this idea of working by hand directly and intimately with the material, that he and I shared a deep connection and mutual interest in. The Art itself would seem obviously the most important, but in my mind these ideas to him were one and the same. The Art and the Art of the Art, as it were. I think this conception and his actions upon it defined him as an Artist more than any other. These "hand conversations" with his chosen material allowed him to create things that almost defied human endeavor. He had his heroes and saw first hand under magnification what they were capable of. I always felt that this drove him to follow that path, because he saw that it was not only possible, but also possible to bring it forward and to have real relevance in the modern world. He saw that and wanted to share that vision with the world. Despite some of his own misgivings about this, I believe he succeeded. In these last decades, he more than anyone in the world, has shone a bright spotlight on the art of Japanese metalwork and generated a mini Renaissance surrounding it. His ripples have also stretched much further outward from that into many different areas of metal work, and I believe will continue to do so for a long time. He had many isms or saying that will persist in my mind until it's my turn to follow him. One in particular referenced craft and the use of tools and ones eyes. He'd say "Marcus, it's all the same, it's all the same." It took me more than a few years to realize what he was saying, but I have thanks to him. Sawing, filing, carving, scraping, looking and depending on how philosophical you want to get, life itself is "all the same". Another one that comes up often for me is "just do the work!" I'd be stuck on something or floundering for inspiration and I'd bring it up to him and he'd tell me again" just sit down and do the work...it'll come. Even when you don't feel like it . In fact, mostly when you don't feel like it, sit down and do the work. And if you really feel you can't sit ,clean ,sharpen and take care of your tools and studio." I adhere to this advice the best I can everyday. It's always a struggle as any artist will tell you. In fact, he himself struggled with that very thing. when I'm working and if I question something I'll often ask myself (WWFD) what would Ford do? and I hear him in my head. I told him about it and joked with him about getting those wristbands made up like the ones for Jesus on a few occasions. Despite me taking the piss with him I was serious, (not about the wristbands) and still do it to this day. He had a gift for expressing himself in a way that made what he did infectious. He was a gifted teacher and deeply cared about his students and those around him. I think this was something that many people underestimated about him. He would freely give way more of himself than he should have for his own good. Even when his health would suffer, he would push himself, especially at classes and while teaching. Few knew how difficult it was for him just to do the day to day living. Such was his dedication to his Art and passion to pass that on to his students. He took that responsibility very seriously and I think that was the catalyst for a few of the folks who he rubbed the wrong way through the years.. I will truly miss the early morning Skype calls with a cuppa Yorkshire Gold in hand and a good bit of toast and cheese. In those precious months where he generously invited me into his home and studio to study and learn. I will cherish those late, late nights where we shared way to many bottles of New Zealand White Zinfandel from the Marlborough region. We talked of life, history, philosophy, science and of course our shared passion, classical Japanese metalwork. Looking over his shoulder while he worked and trying to soak up everything that I could. He was encyclopedically knowledgeable and had an almost photographic memory for names, dates, schools, styles and really almost anything dealing with Japanese arts. The amount of research he had done on his book alone would have easily gotten him a PhD twice over had he been in academia. I'd set myself challenges of finding information that he had not already found. In all those years that happened only a handful of times. I'd excitedly bring something to his attention and he would then list off the book and chapter where it was located. And when he didn't know he was extremely grateful to add it to his knowledge base. Or, if there was a particular tsuba or artist that I was interested in, he would instantly know where a reference photo was in his massive library. If he didn't have it there he would know where to look. Also, where, when and how they worked, and most if not all of the Masters for that school. It was truly astounding. There is just so much I'd like to say and I could go on and on. I'm really not sure where to stop with all of this... I have known him and been his student for a long time, through thick and thin. Our relationship was the most unique one I've shared with another human. He changed the course of my life dramatically and opened up a world I now inhabit. He's had more impact on my adult life than anyone I've ever known, save my wife and children. How do you say goodbye to someone like that. How do I move forward and carry on without that human safety net and wellspring of knowledge, understanding and kindness that he was to me. I can only think of one, and that's to ask myself, what would Ford do? I will miss you ole chap, my dear friend, my teacher. I do not have enough gratitude to repay you all that you have given me. 10,000 thanks will not suffice. All I can do is carry on with our work and do my best to make you and Hallam-ryu proud. All my love and respect, Marcus

Today I got out my Chidori Jumonji yari to maintain/ view and decided to share them. I really enjoy this type of yari and it's quite interesting to see the slight differences each of the yari has. It may take a little time to see them but when you do there quite noticeable. From left to right the smiths are- Higo no kami Kuniyasu, Echigo no kami Kanesada (Sakaura Terukane) and Kawachi no kami Monjyu Kanesada. Hope you enjoy them. John C.

This is my recent acquisition. I really love this tanto. So, let me share its beauty here. Made and curved by Gassan Sadakazu 1st, for the order from Takahashi Sakuye in 1907. Ref. Sakuye Takahashi - Wikipedia Blade length: 25.4 cm Horimono: Kurikara and Gomabashi

Darcy Brockbank: A Tribute “The captain of his soul” By Robert Hughes Ted Tenold, Darcy’s close friend and longtime business associate had the unenviable task of sharing this tragedy with our community. Thus, we began to mourn the loss of our nihonto associate and friend…. While at the same time, many condolences have registered Darcy’s great achievements and his educational legacy. This is the part that really deserves a life celebration for there is much that he generously shared! Just as one piece of a puzzle never represents the completed work, singular perceptions never define the magnitude of a person’s character. So, from the ever increasing list of heartfelt condolences following Ted’s notification, I have borrowed a few essential elements to quote here. I hope no one minds… By assembling a few shared thoughts, quite an amazing picture emerges. The condolences and reflections are like small pieces of tile, and when combined leave us with a large life mosaic. The mosaic records our sense of loss while recognizing the contributions he made to us. Darcy masterfully bundled three somewhat incongruous elements together: sword scholarship, friendship, and commercial activity. As many have attested, it truly was a blessing to be the beneficiary of even one, if not all three elements. Many important sword and fittings collections arose or were enhanced through either guidance or acquisitions from Darcy. With intelligence and a superb sense of refinement, Darcy had a great eye and appreciation for fine samurai art and beauty in life. With all his accomplishments, he was never vain. A trait he may have inherited from his recently deceased father who had been a well-respected teacher and school principal in Ontario. The apple never falls far from the tree… Mosaic Life Tiles “most respected and trusted scholar” John V. (Glencoe Il.) “inconceivable” Stephen (Iowa)he would do things like get a bunch of sleeping bags and give them to the homeless on the coldest nights in Montreal” Curran (Pirate Coves, USA)“nihonto legend… I’m crushed.” “He didn’t tolerate unethical dealings and fraud.” Brian (South Africa) “no words adequate to express this terrible loss” Ray (Florida) “amazing wealth of knowledge” Greg F (Australia) “a living legend has gone” Chris (Bavaria) "a devasting loss” Jussi (Finland)“ “a leader in the nihonto community” Mark S. (Illinois) “his reach was far, his knowledge was great, his friendship will be missed” B. Hennick (Canada) “he shared his time and knowledge which was more precious” Matt (Virginia) “very passionate guy searching for the truth” Robert (New York) “my mind is in turmoil” Jean L. (France) “and the sleepless nights he spent answering even the most ridiculous of emails and random enquiries in his honest, lengthy, didactic manner. Trying to teach, elucidate, steer. Often taking other people’s burdens upon himself.” Michael S. (UK) And so on…. the mosaic is taking shape….. Those that followed Darcy’s recent adventures know that during the onset of the pandemic, he relocated to Japan from Thailand. Little by little, flight opportunities diminished and Darcy found himself a temporary but long term resident in Japan. It was not a hardship arrangement, as his residency became the Grand Hyatt in Roppongi Hills. As his stay morphed into months, Darcy became a hotel feature and dined regularly with the manager. This, in turn, endeared special treatment and eventually he received a luxury suite for a near regular room rate. As a long term hotel resident, the staff found him friendly and interesting. Even during the winter months, he could be seen in the neighborhood walking around in a black t-shirt and short pants. Growing up in Canada, he had developed some immunity to the cold. Japanese were amazed. During this period in Japan, Darcy became close to Hisashi Saito of Ginza Seikodo. They made a habit of dining together regularly. I often joined them. We searched for venues that remained opened and that served libations which proved to be a tricky arrangement. This was during the pre-vaccination phase. These were eerie nights out because we often found ourselves the only patrons in the venues. Infection rates were like waves rising and falling. During a short window of opportunity when infections had dropped and there was a temporary respite in civic restrictions, the Grand Hyatt set up an evening of entertainment with the great Konishiki Yasokichi on ukulele and his wife as vocalist. Konishiki was the first non-Japanese born sumo wrestler to reach ozeki. Darcy got three tickets and we made the best of a great evening together. As you will see below, sword dealers are big celebrities, so even Konishiki decided to photo bomb our selfie! There were only a dozen tables and we lowered our guard… Darcy was generous as always and he picked up the tab. He loved hearing stories of my four decades in the sword trade in Japan. One night he suggested that I should initiate fireside chats on-line, smoke a pipe, and tell sword stories. We shared many laughs… When I think of Darcy, Henley’s poem “Invictus” comes to mind. Darcy accomplished much and took bold strides through life. He truly had an unconquerable soul, for which he was master and captain. As a fellow Canadian, I am proud to have been one of his friends. I raise a glass of fine Primitivo Di Maduria in his honor! Invictus By William Ernest Henley Out of the night that covers me, Black as the pit from pole to pole, I thank whatever gods may be For my unconquerable soul. In the fell clutch of circumstance I have not winced nor cried aloud. Under the bludgeoning of chance My head is bloody, but unbowed. Beyond this place of wrath and tears Looms but the Horror of the shade, And yet the menace of the years Finds and shall find me unafraid. It matters not how strait the gate, How charged with punishments the scroll, I am the master of my fate, I am the captain of my soul. Please continue to leave individual messages under Ted’s original notice. My intention is not to hijack his thread… Stay well! Robert Hughes

Hello to everyone on this thread. I am Darcy's younger brother and on behalf of our family thank you all for all of your comments about my brother. This is a tough time for our family especially after dealing with the recent loss of our father and comments such as these help us heal. With respect to preserving his nihonto web content, there is nothing that we would like more than to have his content preserved and remain available for those that share his passion. Please feel free to contact me if you have any questions or would like more information. Regards, -joel

This has been a top goal of mine for some time. A long time. While not quite 100% complete (need a signed Norikatsu tanto), it's still something I am excited about. A full set of masame hada works by the great Shinshinto smith Norikatsu, with one by his finest student Masakatsu, to round out the set. Often in our study and searching, a million things can and will jump out at you, temptation is everywhere. Staying focused and with your primary desires in mind at the end, is as rewarding a feeling as one can have. At least it feels that way when I lay out this family of works. Katana: “Made by Katsumura Norikatsu, resident of Suifu ‒ “On a day of the eighth month, Keiō three (1867)" Wakizashi: “Made by Norikatsu, a resident of Mito, on a day of the third month Bunkyū one (1861)" O-Tanto: unsigned: Mito Masakatsu

Around 10 years ago, Darcy released his excellent article on photographing Nihonto. Through trial and error, he came up with many great tricks on the subject, and this was evident in his superb photographs of the swords on his website. However, after some time, and for personal reasons (among them the number of dealers using his methods for personal gain without recognition) he withdrew the article. After his tragic passing earlier this year, I wrote to his family asking for permission to release the article for the benefit of the community. There are many great tips and tricks in it. This was granted by the family, and so here it is. After many years, and in tribute to a great member of the community, I have uploaded the article in the download section. Enjoy, and remember a guy who was truly a huge character and a legend in our community. Thanks Darcy, and RIP from all of us.

Here are some phone pics of my latest work, this is my 4th attempt at making tsuba. The bronze original is in the V&A London online collection. The details are as follows. The project took 7 months to complete including choosing the design to inlay of the mei. The material is iron(not mild steel) I sent some 100 year old relic parker brothers and other Damascus shotgun barrels to a blacksmith who returned them as 1/4" iron plate. I made a pen and ink drawing adding the kogai hitsu ana. The design was xerox copied and transferred to the plate. I then pieced with a jewelry saw and sculpted with hammer and chisel gravers. Polished with files and finishing stones. The color is heat blue patina.

Today I would like to introduce you to my Kurihara Akihide Subudai from 1945 I love the Hada

Over recent year I have been very lucky and friends and colleagues within the Token Society of GB have loaned me swords to study and write up. Many of those write-ups are stored here and on the token of GB website. One of the advantages of this is that I am often presented with work that I haven't previously studied or only looked at in a limited way. they also force me to confront so of the many prejudices I have built up over the years regarding certain schools and periods. I have often said that my period of interest is the Kamakura and early Nambokucho periods. I still regard this as the golden age of sword manufacture. However that doesn't mean there weren't good swords made at other times and in other places. I have recently studied two Sukesada blades dating from the last quarter of the 16th century, A mumei sue-Seki work and a Gendaito made in Seki during the second world war. In all of these cases I anticipated that I would not like these works. I expected to see at best bland semi mass produced bundle swords and more likely crudely forged with bad shape and lifeless hamon (I did say I had prejudices) . Well I was wrong on all counts. Each of these proved to be far better than I anticipated and all were of very good quality. I felt suitably chastened. Once again I was given a stark reminder not to prejudge swords. This is especially true when we seem to increasingly rely on soundbites appearing amongst the mass of information on the internet. Each sword should be judged on its' own merits and not dismissed because we "think" pieces made in a certain place and time were less good than others. There are some staggeringly good works in existence from all periods and traditions. What we need to do is study more to be able to identify what features make a sword "good". Also remember not liking a sword doesn't make it bad any more than liking it necessarily means its good. We all bring our own preferences, likes and dislikes to the table and need to take that in to account when assessing a sword.

The For Sale section seems to be getting more and more popular, and it is becoming increasingly difficult to sort through the offerings for those looking for only swords, or tsuba etc. So I have decided it is time to split these sales into sections. I know we all resist change, but I think this will be a good move and I can fine tune the settings or descriptions as we go along. Please post new items in the relevant sections above. In time, I will move all the old listings into their sections. Members should be able to reply to and discuss old listings, but not create new listings in the open section anymore. You will need to start the listings in the specific sections. Comments, suggestions etc are welcome, in this thread. I really do feel this is a step forward, and there are other changes coming that I think will improve things. Brian

There’s a guy in SA called Brian or something that I think you’ve missed. He’s like the *plug holding the bath water in. *Mr NMB. Pull his chain at your peril!

Relief!!!! All is ok, I have confirmation it is a case of severe technical issues!! @Spartancrest will be back in due course!! My mind is at ease, really been missing Dale!!

Hi gang, Not wanting to hijack another thread, I'm opening this to suggest that we all take a break from encouraging rank beginners at Nihonto to have their swords polished. These are well meaning new collectors who know almost nothing about their swords (nothing terrible about that; we were all there once) yet time after time they are told they need to spend $2,000 to $4,000 for a restoration they again know almost nothing about. Polish is serious business with many variables that need to be taken into account before a decision is made. Even with 40 years of learning under my belt, I go slow with having something polished. There is no way a beginner should rush into this. Polish isn't preservation; a light coat of machine oil takes care of that. No reason the sword can't wait for its owner to study and then make an informed decision. Grey

Hey Fellas- I finally finished my sword display and study space. Thought you might enjoy taking a peek into my little world. The swords displayed on the table usually live in the the bedroom/Livingroom, but I rotate them out in the display case from time to time. In total, I have acquired 18 pieces in 3 years of active collecting, 6 of them are "mystery nihonto" the rest are papered. I think that my next step should be to get a professional appraisal of the whole lot for insurance purposes. any suggestions for how to go about this? Thanks for helping me get this far! -- JT

I'm sure all of you know and have interacted with Ray Singer and Swords of Japan before. He appears to be a respected voice on these boards and I am sure others as well. I became acquainted with Ray as of some direct information I picked up here with the suggestion to purchase an initial sword from someone on this site. Based on that information, I went to the Swords of Japan website and found a beautiful Takada Muneyuki Katana in a very reasonable range. After some initial discussions with Ray, including some wonderful background on the sword and the smith I decided to purchase the sword. That's where it all went downhill, for the sword. The transaction was professional and quick with the sword shipped to my house quickly thereafter. Sometime after it was dropped off at USPS, the sword fell out of the system. No scans were made, the delivery date came and went. This went on for a little over 5 weeks on a shipment that should have taken 4 days. During this whole time, Ray was working the system trying to find information for me to keep me up to date with the results. All told, he said he spent 50 hours on the phone with the USPS. Well, after 5 weeks, he finally decided all avenues had been exhausted and decided to make an insurance claim. Well as usually happens when that type of decision is made, USPS decides to walk up to my house and drop off the sword. The package was a little beat up but the sword inside was well packaged and unharmed. I really appreciate the efforts that Ray went through to make this happen. Most would have thrown up their hands after a week. With that, as long as I am in this hobby he has a customer. There is too much negative in this world and sometimes it's nice to focus on the positives. Jim Blubaugh

Few days ago a friend noted that NBTHK had released Jūyō 69 results on their website Now as I always do, here are the results translittered to partly English following the format I am using on the index. All possible errors are most likely mine, I am not well versed in fittings so there I might have incorrect readings of lesser known makers etc. and as usual I avoid translating fitting / koshirae themes as it is often very difficult to get correct. Here is the link to the original PDF at NBTHK site: https://www.touken.or.jp/Portals/0/第69回重要刀剣等指定品発表.pdf Jūyō 69 – 84 Items – NBTHK Web page 1. Katana – Gojō Kuninaga – Mumei [五条国永] 2. Tachi – Ko-Kyōmono – Mumei [古京物] 3. Tachi – Awataguchi – Mumei [粟田口] 4. Katana – Niji Kunitoshi – Mumei [二字国俊] 5. Naoshi – Rai Kunitsugu – Mumei [来国次] 6. Tachi – Mitsumasa (den Senju’in) - 光正 [伝千手院] 7. Tachi – Senju’in – Mumei [千手院] 8. Katana – Senju’in – Mumei [千手院] 9. Katana – Taima – Mumei [当麻] 10. Katana – Hoshō – Mumei [保昌] 11. Katana – Shikkake Norinaga – Mumei [尻縣則長] 12. Tantō – Shintōgo Kunimitsu (1322) - 国光 / 元享二年六月日 [新藤五] 13. Katana – Yukimitsu – Mumei [行光] 14. Katana – den Yukimitsu – Mumei [伝行光] 15. Tantō – Sadamune – [Shumei 貞宗] 16. Katana – den Shizu – Mumei [伝志津] 17. Tantō – Shizu – Mumei [志津] 18. Katana – Kaneaki (1592) - 生駒雅楽頭公依御意兼明造之 / 文禄元歳二月吉日谷出羽守二胴切 19. Tantō – Asago-Taima Nobunaga - 信長 [浅古当麻] 20. Katana – den Gō – [Shumei Fumei] [伝江] 21. Katana – Norishige – Mumei [則重] 22. Tachi – Ko-Hōki Sanekage – Mumei [古伯耆真景] 23. Katana – Sekishū Naotsuna – Mumei [石州直綱] 24. Katana – Sukemura (Ko-Bizen) – Orikaeshi 備前国助村 [古備前] 25. Tachi – Norinari (Ko-Ichimonji) - 則成 [古一文字] 26. Tachi – Sukekane (Ichimonji) - 助包 [一文字] 27. Katana – Yoshioka Ichimonji – Mumei [吉岡一文字] 28. Tachi – Norifusa - 則房 29. Katana – Iwato Ichimonji – Mumei [岩戸一文字] 30. Tachi – Nagamitsu - □□□長□ [長光] 31. Katana – Nagamitsu – [Kinpun 長光] 32. Tachi – Kagemitsu (1331) - 備州長船住景光 / 元徳三年三月日 33. Naoshi - Unjū – Mumei [雲重] 34. Katana – Kanemitsu – Mumei [兼光] 35. Katana – Kanemitsu – Mumei [兼光] 36. Katana – Yoshimitsu – Mumei [義光] 37. Katana – Motomitsu – Mumei [基光] 38. Tachi – Masamitsu - □州長船政光 39. Tachi – Shigeyoshi (1392) - 備州長船重吉 / 明徳三年十月日 (Attachment – Tachi Koshirae - 金梨子地青山菊紋散金貝鞘糸巻太刀拵) 40. Tachi – Shigezane - 備州長船住重真 41. Katana – Nagashige – Mumei [長重] 42. Katana – Ōmiya Morikage – Mumei [盛景] 43. Katana – den Ōmiya Morikage – Mumei [伝盛景] (Attachment – Tachi Koshirae - 金梨子地三條花角紋散蒔絵鞘糸巻太刀拵) 44. Wakizashi – Yasumitsu (1439) - 備州長船康光 / 永享十一年八月日 45. Katana – Aoe – Mumei [青江] 46. Katana – Aoe – Mumei [青江] 47. Katana – den Aoe – Mumei [伝青江] 48. Katana – Sairen – Mumei [西蓮] 49. Katana – den Samonji – Mumei [伝左文字] 50. Katana – Enju Kunitoki – [Kinzōgan 国時 / 光遜 (花押)] [延寿] 51. Katana – Horikawa Kuniyasu - 国安 [堀川] 52. Katana – Shinkai Kunisada (1670) - 井上和泉守国貞 / (菊紋) 寛文十年八月日 53. Katana – Echizen Yasutsugu (Nidai) - 於武州江戸越前康継 / 諸越所持 [二代] 54. Katana – Kaneshige - 上総介藤原兼重 55. Katana – Taikei Naotane (1831) - 荘司筑前大掾大慶藤直胤 (花押) / 天保二年仲春 56. Katana – Hizen Masahiro - 肥前国河内大掾藤原正広 57. Naginata Koshirae - 黒漆塗鞘朱塗柄薙刀拵 58. Tachi Koshirae - 黒漆塗紋散蒔絵鞘糸巻太刀拵 59. Tachi Koshirae - 金梨子地桐違鷹羽檜扇紋散鞘糸巻太刀拵 60. Tantō Koshirae - 朱塗陰陽藤花文鞘合口短刀拵 61. Tantō Koshirae - 黒石目曲竹断文散腰刻鞘合口短刀拵 (中邨春寛一作金具) Nakamura Haruhiro Issaku – Fuchi – Haruhiro - 中邨春寛 (花押) Kozuka – Haruhiro - 春寛 (花押) Kōgai – Haruhiro - 中邨 62. Tantō Koshirae - 黒蠟色桜花散蒔絵鞘合口短刀拵 Menuki – Sasayama Tokuoki - 篤 / 興 Kozuka – Sasayama Tokuoki – (棟銘) 篤興作 Wari-Kōgai & Semegane – Sasayama Tokuoki - 一行斎 Saya Lacquer - 平安篤興画 梶川 (壺印) 63. Menuki (歳寒二雅図目貫) – Ko-Kinko – Mumei [古金工] 64. Kozuka (引手金具図小柄) – Gotō Yūjō & Gotō Kenjō & Gotō Teijō - 祐乗作 顕乗 (花押) 光昌 (花押) 65. Kōgai (樋定規図笄) – Gotō Sōjō & Gotō Teijō - 宗乗作 程乗 (花押) 66. Menuki (牛馬図目貫) – Gotō Kōjō – Mumei [光乗] (Attachment – Gotō Origami (1739) - 元文四年代百五捨貫光理折紙) (Attachment – Letter - 後藤三郎左衛門書状) 67. Mitokoromono (枝菊図三所物) Kozuka & Kōgai – Gotō Tsujō - 後藤通乗 (花押) Menuki – Gotō Tsujō – Mumei [通乗] 68. Mitokoromono (竹雀図三所物) Kozuka & Kōgai – Gotō Hōjō- 後藤四郎兵衛藤原光晃 (花押) Menuki – Gotō Hōjō – (割際端銘) 光 / 晃 69. Tsuba (雲出八橋透鐔) – Hayashi Shigemitsu - 林 / 重光 70. Tsuba (武蔵野透鐔) – Yasuchika - 安親 71. Kozuka (木賊刈図小柄) – Yasuchika - 安親 72. Kozuka (猿猴耳掻に刷子図小柄) – Yasuchika - 安親 73. Tsuba (雪花透唐子雪遊図鐔) – Issando Joi – (金印) 一蝅堂乗意 (金印 永春) 74. Fuchi & Kashira (親子獅子図縁頭) – Konkan - 岩本昆寛 (花押) 75. Daishō Fuchi & Kashira (猛禽図大小縁頭) – Ishiguro Masayoshi – Daishō mei - 行年七十七歳 寿翁政美作 76. Kozuka (富嶽図小柄) – Hirata Dōnin – Mumei [平田道仁] 77. Tsuba (山水図鐔) – Tomonobu - 染谷知信 (金印) 78. Menuki (海の幸図目貫) – Nagatsune – (割際端銘) 長常 (花押) / 長常 79. Fuchi & Kashira (風神雷神図縁頭) – Minayama Oki - 皆山応起 (花押) 80. Tsuba (雷神図鐔) – Kawabarayashi Hidekuni - 天光堂秀国 81. Mitokoromono (粟穂図三所物) Kozuka & Kōgai – Araki Tomei - 吟松亭東明 (花押) Menuki – Araki Tomei – (割短冊銘) 吟松亭 / 東明 82. Kanagu (福禄寿図揃金具) Tsuba – Imai Nagatake (1858) - 安政戊午孟今井永武 (花押) Kozuka – Imai Nagatake (1857) - 安政丁巳孟秋今井永武 (花押) Kōgai – Imai Nagatake (1857) - 安政丁巳孟秋今井享斎 (花押) Menuki – Imai Nagatake – Mumei [永武] 83. Tsuba (追儺図鐔) – Tanaka Kiyotoshi - 東龍斎 / 丁未歳製 清寿法眼 (花押) 84. Kozuka (雀海中蛤図小柄) – Natsuo - 夏雄 (印 古意)

Hi! This is an update to my previous post. This is a thank you to all the amazing people in the message board who contributed to helping me find more about my heritage. As a token of my appreciation I provided sword making in action photos (including his face) below. Thank you so much from the bottom of my heart. I’ll update you guys (on this post probably in 2 weeks) if I get more photos of him/more photos of swords created.

I wouldn't say a position of knowledge Brian, but maybe a little further insight, but thanks for allowing me to post because this was an interesting topic, too bad it branched off into the absurd… let’s see if we can bring it back on course a little. I’ve been lucky enough to polish a couple Naotane in my time, and I feel I have some understanding of his work. I’ve been even luckier to have had many discussions with people who know far more than I do about forging techniques, and I believe one particular technique I’ve learnt about has some relation to this discussion. Naotane was a master of the shinshinto period who was able to produce incredible work in many different styles. There were of course several smiths of this period who skilfully produced swords in different styles of the gokaden… but Naotane was able to produce several different sub-styles within each of the gokaden in which he worked, but rather than just changing the type of hamon, he used completely different forging techniques, which is where his genius lies for me. For example, just in his Bizen-den alone I’ve seen several different approaches used: - He made Kagemitsu and Oei-Bizen utsushi using typical forging techniques and tsuchioke to create a more controlled yakiba and utsuri on a ko-itame hada. - He occasionally used a mixed hada in his Kagemitsu utsushi, with a flowing chikei mixed in with ko-itame hada. - Sometimes he made a pronounced uzumaki-hada in his Bizen-den, which I’ve heard as being a kantei point of his, though I’ve not often seen it. - And rarely, he made Bizen utsushi using hadaka-yaki to produce more wild yakiba and stronger utsuri formations. Naotane’s Uzumaki-hada in Bizen-den. I’ve also seen him create Yamato-den with thick bands of masame-hada, and Soshu-den with swirls and burls of chikei similar to Matsukawa-hada… the point is, he was probably the most versatile smith of the shinshinto period, especially when it came to creating different jigane. During a time when many smiths produced very tight hada, sometimes even muji-like hada, Naotane was forging masterful steel with flowing chikei and utsuri. One of the techniques he mastered in order to achieve this variety of steel was called tsukurigane, it’s a term I came across early in my polishing apprenticeship, and I’ve not seen it mentioned in any texts that I can recall. It was explained to me as a way of forging steel that reliably produces a clear and controlled ‘chikei-like effect’ which several modern-day makers were using in their Soshu-den utsushi. But, it’s not the way chikei was typically created in koto work, except for a few schools such as the Norishige school, who I believe used some form of tsukurigane, but that’s a completely different rabbit-hole and a completely different level of genius! Tsukurigane (‘tsukuri’ generally translates as ‘making’ or ‘to make’ or relates to a particular technique of manufacture such as ‘shinogi-zukuri’, but in this case I believe ‘tsukuri’ infers a meaning of the steel being controlled or contrived). It’s a type of kawagane which is made by forging together two or more different billets of steel, often forging them together using a relatively low number of folds. The different billets used in the process can each be folded in the same pattern (e.g. ko-tame) and can be of the same number of folds, so when they’re combined, there’s no discernible difference between them in terms of the pattern or the fineness/tightness of the grain. But, these different billets usually have vastly varying carbon content, which means once polished they’ll produce different colours and textures, and different amounts of ji-nie, which is what creates the chikei effect running through the jigane. The less you fold these billets together to combine them, the larger the chikei pattern it’ll create, and the larger the difference in carbon content, the more contrast there’ll be in the chikei. Apparently, combining them using limited folds, but without producing kitae-ware is extremely difficult, but when done masterfully as Naotane was able to achieve, it can create a very beautiful chikei effect flowing through the jigane. Naotane’s tsukurigane producing a masame/mokume mixed effect. I once opened a window on a Naotane that was in Bizen-den and was a great example of tsukurigane. Something I found fascinating was, once I’d brought out the jigane, on some angles it would appear as a very tight ko-itame with only a hint of chikei in the background, while on other angles swirling chikei would jump to the surface and completely change the overall impression of the steel. It was a brilliant effect that gave the steel a lot of depth, and it made me think about how different a sword can look on different angles or under different lights. Of course, the polish makes a huge difference as well, the previous polish was acid-etched and gave the steel a damascus-like effect. These two pics are of the Naotane I just described, as you can see one shows a tight ko-itame, and the other shows a flowing chikei effect running through it. But the pics are of the exact same section of steel, at the same point of the polishing process, under the same light, in the same room… just on different angles. I believe all of the above relates to the juyo katana which started this discussion… I definitely see tsukurigane in this sword, which is creating a lot of chikei, but I’m not sure I specifically see mokume-hada or uzumaki-hada. There are definitely some patterns which hint at something reminiscent of mokume, but I don’t think they’re actually forming a proper burl pattern, it seems that they’re a sort of wavy/churning chikei effect, so personally I don’t think I’d call it mokume. Either way, the chikei created by this style of forging can exist within a tight ko-itame, so even if there were mokume or uzumaki patterns in the chikei, I could understand the NBTHK defining it as ko-itame. It’s not easy sometimes to define a hada, for me, the strength and clarity of which a pattern appears, and how often it occurs over the whole sword are big factors in defining it, and I imagine those are also factors in determining whether or not it’s mentioned in an NBTHK setsumei. But I’m no expert, and I haven’t seen this sword in hand, which is really important as pictures can be misleading, as I mentioned above, a slight change in light or angle can completely change the appearance of certain types of jigane. The NBTHK on the other hand are experts, and have seen the sword in hand, in fact they’ve studied it at length as they’ve passed it as juyo. So, I think the point that Jacques is trying to make is valid, they’ve not mentioned mokume or uzumaki in their setsumei, so one can fairly surmise that there isn’t any in the forging. I will say though, there are perhaps better ways of trying to get your point across, and the discussion would’ve been better off if its contributors were maybe more considerate. Perhaps there are language barriers, or things are being misconstrued as they often can be over emails and forum posts, either way an interesting discussion that merits more thought. That’s just my 2 cents.

OK, I got a small teaser to share!

The last thing that I would want to do is discourage an incoming new enthusiast, so please don't take this in a discouraging way, however there is no final authority who can give an answer that conveys absolute truth. If a piece is not signed, then there is always some degree of uncertainty on an attribution. In the sword world, there are attributions which change from one level of paperwork to another. With fittings and swords both, there is some degree of bucketing where an item may receive a safe attribution if the answer is not entirely clear. Collecting Japanese swords and fittings needs to come with some acceptance of the fact that there may be no absolutes and that sometimes it's enough to own a masterfully made object even if you'll never know with certainty who made it.

I have some good news to share today! I received a call from the supervisor at my local USPS office to say that they "found" my sword after 4 days of it going missing, and I've just picked it up and have verified that it's undamaged. I assume that the USPS theft report an the police report that I filed helped get the necessary attention, and the USPS supervisor will also be looking into the matter of the fake delivery attempt by his delivery person. Thanks again to everyone for their helpful suggestions on addressing the situation!

Really hate to even mention this. But many of the hosting and software bills have just come up for renewal and had to lay out a chunk of change. Although we are still ok with the current reserves, there has been more going out than coming in. I know times are tough, and therefore any contributions will always be voluntary and not expected. But it's mainly the Gold memberships and dealer subscriptions that keep us going, and we have a lot of unrenewed memberships due to people coming and going through this complex collecting field of ours. I just want to ask those who are able, to consider a membership if you are able. I feel for $5/month, we offer a ton of info here...over 15 years of it. You get far more pm's, less time between searches and other benefits mentioned here: https://www.militaria.co.za/nmb/subscriptions/ Or at least please consider renewing if you membership is expiring. We accept Paypal, and if you send me a pm, I can send a CC request through a secure payment processor too. Donations for sales done here are also a huge help, but of course are also voluntary. If you would like to see any other benefits for Gold membership that are within the scope of the software, feel free to ask. Would love to add more plugins that offer more features and themes, but most come at a price, and a 6 or 12 month renewal period. Anyways, just a mention, and of course a huge thanks to those who are always stepping up with contributions, memberships or just info and assistance to members. From the guys who answer newbie questions, to those who give their time and knowledge with translations and expertise. Thank you all. Couldn't do any of this without you. Brian

This sword could live just as happily live in the Nihonto section as well as the Military. A May 1941 (Takahashi) YOSHIMUNE, in the less common aluminium saya, All the fittings are matching numbered "1538", indicating an original complete sword. His lineage as a swordsmith is without question, his brother SADATSUGU was a "Living National Treasure". This BIZEN tradition sword has a nice hamon and hada, the photos do it no justice. The MEI translates to "The God of war, Minamoto YOSHIMUNE made this". I share this sword because I spent years trying to find a top example of his work as I think he was one of the top Gendai sword makers. I acknowledge using pages from Slough.

Good morning everyone, I've been absent for a long time. Just a quick post to let you know what's been going on. Thought I'd pop it here as this is my beloved section. Feel free to move it, Brian. Twofold; I've not really been feeling very passionate about my collecting for a while now. I have a complete collection, bar something new being discovered or those elusive Type 32 conversions surfacing. I guess that's the natural conclusion to collecting. The chase is exciting, but once you hit the finish, the question is 'what next? Secondly, I got double scammed by Enemy Militaria. Fool me once, fool me twice, you know the drill. Not really unexpected, it's happened before and would happen again. I've usually been able to resolve it, just the nature of things. However, it put a sour taste I my mouth and you could call it 'the straw that broke the camels back'. I've met a few reputable, upstanding dealers over the years. I've met more of the other kind though. Some outright scammers and liars like in this instance, but also dealers that are willing to omit small details that would make a difference overall. It's still dishonest. So without much drive and with something like this happening, I've just ignored the hobby. I have many others to focus on. I tried to sell the collection a couple of times, but the problem with a large collection is that it's too large to sell easily! I'm also wracked with indecision. Will I regret it? Why even sell, since I don't need the money? So hopefully things will change, but I may not be around for a long time. I just wanted to let you fine folks know why, since there are some absolutely amazing gentlemen here and I can truly say it's been an absolute pleasure to contribute over the years. Hope to find my feet again. We will see. My absolute best wishes, sincerely, Steve

Item No. 313 Tsuba in shibuichi with gold, copper, silver and shakudo 7.4 cm x 6.9 cm x 0.32 cm Subject of elderly flower arranger at his art. Signed by Funada Ikkin with kao. Dated on the reverse Tenpo Junyon, Mizunoto-u Moshun (mid spring in the year of the Hare, 1843). Superbly rendered portrait of a wealthy and cultured gentleman. He is wearing expensive clothing and furs, and is also using spectacles (rare) to help his eyesight. The flowers depicted appear to be daphne, pawlonia on the reverse and flower arrangement looks to be camelia. Any ideas from anyone if the plants are in fact something else?

Hello Gents, I want to share with you some pictures of my Kiyomaro mon naginata naoshi o wakizashi, which I bought last year from Ray Singer. Although it is mumei, it is a ubu sword with a nagasa of 51,5cm. The possibility that Kiyomaro himself made this great soshu den wakizashi is very high. A final attribution should be given by a NBTHK shinsa. I hope you enjoy. All the best

Well I am not too eager to sell this as I really like this item but as I want to move up in quality I have to let this go to possibly upgrade to older and signed tachi in the future. I won't be buying anything for several years to come, so not stressed on time selling this. There are not too many "cheap" tachi currently on the market, so I think this might be a great opportunity for someone to get a fairly nice tachi. This is not the finest art sword you will get but a decent priced long and very curved tachi that is c. 600 years old. Here are the stats for the sword (+ description I wrote for the kantei thread some years ago), I think the thread might be of interest for those looking into this tachi: Nagasa: 77,2 cm Sori: 3,7 cm Motohaba: 3,0 cm Sakihaba: 1,9 cm Moto-kasane: 0,65 cm Saki-kasane: 0,4 cm Kissaki-nagasa: 2,8 cm Nakago-nagasa: 20,6 cm Nakago-sori: 0,2 cm Shinogi-zukuri, iori-mune, quite slender mihaba, visible taper, thin kasane, very deep sori that is torii-zori. The jigane is rather standing out itame, which tends to masame-nagare on many parts, some ji-nie is also present. There is also shirake-utsuri. The hamon and boshi can be seen in the oshigata. Nioiguchi is somewhat hazy and weak. Hamon is in ko-nie deki. There is bōhi on both sides with maru-dome before the tang. The tang is ubu has a kurijiri, and two mekugi-ana. The sword is mumei. As you'll probably guess from the picture & appraisal certificate the sword was purchased through Aoi-Art. It has a decent quality shirasaya, much slimmer than I am used to. Comes with NBTHK Hozon 波平 - 時代室町前期, Naminohira - Early Muromachi. Aoi-Art appraisal sheet and their oshigata scroll is included and silk sword bag. You can ask any questions you have and I'll try to answer as well as I can. Price: 6500€ (bank transfer is the preferred method)

Happy ThanksMas to you, too, Brian! Very kind idea and post. You deserve over 6,000 thank-yous (number of members!). If I may, I'd like to thank all the guys on your list, plus some other guys I've learned much from: Research - already listed George Trotter, Mal Cox, @Kiipu, @BANGBANGSAN, @vajo, @andreYesand, still missing him - @16k! Double-down on thanks to @Rich S (and you Brian) for the Japanese Sword Index that I refer to almost every day. Thanks don't do justice to two guys that the World owes a debt of gratitude in Type 95 world - @Stegel and @Shamsy. Can't thank the Translation guys enough, guys you've listed, plus @uwe, there are others, though. For Type 8/19 and kyugunto, where would we be without @lonely panet, and koshirae - @PNSSHOGUN! I want to recognize @robinalexander for his rapidly growing expertise in Type 95s, and @John C for adding his passion for research. And finally, to @kissakai for his regular reminders of the beauty and awe of this world we live in, on his Izakaya posts; @Stephen and @Wayben for the endless stream of Laugh 'O the Day memes. And a special thanks to @IJASWORDS and @roger dundas and @Beater - you are wonderful souls who bring a civility, peace, and kindness to our sometimes rough and tumble crowd.

It’s been 2 years this month i have been waiting for this pole to rejoin the blade and saya. It’s been languishing in Japan. I am really pleased. It’s gorgeous from top to bottom. The mother of pearl is luxurious. Signed Heianjo Fujiwara Sukenobu. Just wanted to share. Mark

I should post most of my collection, but i selected a few pieces: Ko-tosho, big, early and unaltered Onin, big and unaltered without much loss of zogan And my pride, tensho koshirae from late Muromachi with its original blade still inside. All lacquered black, simple iron tsuba with most of urushi still in place

From my own collection - the nanako is minute and the design wraps around the nanako mimi - not done in shakudo as one would expect, but shibuichi.

Well, I was prepared to leave the member to finalize any deals and participate without taking advantage of the For Sale section, but since he decided to edit his account to remove name, location, etc and change his username to an offensive one, I guess I don't have much choice and have removed "Nihontocollector" as a member. If anyone was busy with deals, I will assist with putting you in touch. I'm not sure what his real name is...I am pretty sure like a few here, the one used is a pseudonym. I'm going to be cracking down on multiple registrations/accounts, and have some new software to dig those out, so please note that some accounts may be merged. And I'll be formulating a policy on what is fair use and what is abuse of the Sales section. Thanks for your indulgence and sorry for the controversy all.

Hi folks, As some of you know already, on January 27 I suffered a fire in my house (an electric radiant heat panel in the ceiling arced out). No one was injured but the house is a mess and we likely won't live in it again until this fall at the earliest. None of my swords, kodogu, or books were damaged. All the books, however, have been put into storage and won't be available until I can move home. The swords and fittings, on the other hand, I can get to. I'm keeping a list of customers who want books so I can get to them later; I'd love to deal with you on a katana or tsuba right now. If you find something at Japaneseswordbooksandtsuba.com that interests you, please let me know (contact me by email through the site). The phone # on my site is the land line and is currently dead. If you want to talk my cell is 218-340-1001. Thanks for all the support I've received from my friends in Nihonto, Grey

Hi my dear friends, First of all, I want to express my most sincere wishes and a Happy New Year to you all and your families. I know this should be in another section so Brian, please feel free to move it if you feel like it, but I posted it here because some members have contacted me and I want to reach most of them. Not sure they all go to the Izakaya. Then I guess I owe you guys an explanation and an apology for my silence those past few months. I’ve wanted to do that for quite some time but it isn’t always easy to expose your issues in front of everyone, and I know some of you may find those issues triffle or first world problems. Anyway, here’s what has happened to me since my absence. First of all, let me tell you that I’m an animal lover… maybe a little too much ! For years, I have been doing the job of a shelter for distressed cats without help or financing. At some point, I had more than 30 cats. Costly and tiring. That’s roughly three hours of work in addition to my full time job everyday. Those animals I recover are usually starving, some of them sick, all of them scared by very difficult beginnings. I’m used to have animals that don’t live long because of that. I loose some every year. Everytime, its a tragedy for me but I’ve developped some endurance to it. This year was special. I lost ten of them in a row over the space of two months. Causes of death were different but I think that the last straw was probably the last one who was litteraly and voluntarily crushed to pulp by a car and the driver purposefully drove over him with both wheels. I know it as I saw it happen. I guess it taxed me a lot and I entered some kind of a breakdown. I was starting to recover, in September, when the secong blow came. Now, here’s the second part of my life. Ten years ago, my elderly mother suffered a stroke that left her with paralysis on her left side. My father had a hard life working in construction and carrying loads so his back is ruined and he has to use a walker. Being an only child, I took them both in and care for them. Not a light job either, but one I feel I have a duty to accomplish. So, come September, my father has to be hospitalized because he had fallen in the middle of the night. His blood count was well below normal. Diagnosis : Mielodisplastic syndrome. To sum up, a bone marrow cancer that will turn into fatal leukemla in generally something like two years. That was the fatal and final blow to me. Now it’s been three months since that diagnosis and I am starting to digest it and recover. My father is responding to treatment and so far, he is neither better nor worse. There you have it ! All tis has made me depressed and apathetic, with no real interest for anything and some sort of self pitying. So I am sorry and apologize to all those who’ve contacted me and to whom I haven’t replied, I will reply to each and everyone of you. Please just give me some time as things have accumulated and I have some catching up to do. Know that I am feeling better and will do my best to stay around. Best wishes to you all, JP