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Hi everyone! I’m new to the forum and wanted to briefly introduce myself by sharing a recent acquisition - my first in this space. I’ve been studying nihontō for some time, with a particular focus on late Muromachi work that prioritizes functional integrity, honest construction, and historically grounded workmanship over overtly decorative tendencies. I’m not obsessed with excessively showy hamon, but I do value how all aspects of the blade appear and balance. You will understand what I mean when you really zoom in on the image of the blade. The katana I'd like to share is a signed and dated Bishū Osafune Sukesada katana, forged in Tenshō 3 (1576) and certified NBTHK Hozon Tōken. It is a late Muromachi uchigatana-form blade and represents the Sue-Bizen tradition at a moment when Osafune production was operating under sustained wartime demand. I was specifically looking for a blade that met several criteria including: A clearly documented Sengoku-era date. A form appropriate to infantry combat rather than earlier tachi conventions. Workmanship that remained firmly within classical Bizen-den practice rather than later Shintō reinterpretation. The blade measures 67.4 cm nagasa, with a wide motohaba, firm kasane, and moderate sori, proportions that read immediately as purposeful rather than exaggerated. The jihada is itame mixed with mokume, with visible utsuri that is consistent and legible under angled light, something I consider essential in pre-flood Bizen work of this period. The hamon is a gunome-midare in nie-deki, active but controlled, favoring durability and coherence over flamboyance. The bōshi enters the kissaki in a continuous midare-komi that holds together well at the point. The nakago is ubu, with two mekugi-ana reflecting long-term use and remounting rather than shortening, and carries the full inscription 備州長船祐定作, paired with a clear Tenshō 3, 8th month date. Both the mei and nengō were accepted without reservation by the NBTHK. I was particularly interested in a dated Bishū signature, as I regard dated Sue-Bizen work as occupying a materially different category from undated mass-output blades, both in intent and quality. Historically, the blade sits in a narrow window that I find especially compelling. August 1576 places its forging immediately after Ukita Naoie’s consolidation of Bizen and only weeks after the First Battle of Kizugawaguchi. This was not a transitional or speculative period, but a moment of active mobilization, when swords were commissioned with the expectation of use. The blade’s geometry, heat treatment, and overall character align with that context in a way that feels honest. – I’m an obsessive history geek if you can’t tell lol. The koshirae itself represents a coherent mid-Edo period remounting, with the tsuka, tsuba, and primary fittings conceived as a unified aesthetic program rather than an assemblage of unrelated parts. The handle fittings are signed by Maruyama Sōzan, an Edo-period metalworker, and display a consistent visual language across the fuchi, kashira, and menuki. The rabbit (hare) menuki are rendered in a restrained, naturalistic style with selective gilt highlights, emphasizing quiet alertness rather than overt martial aggression, a sensibility characteristic of refined Edo tastes. This motif is deliberately complemented by the iron sukashi tsuba, whose rotating tomoe-derived design expresses cyclical motion and natural force in abstract form. Together, the animal imagery of the tsuka and the dynamic, elemental symbolism of the tsuba form a balanced thematic whole, power expressed through harmony rather than excess. The matching materials, colors, gilt, patina, fit, and composition strongly indicate that these components were produced within the same artistic style and likely by the same hand or workshop, assembled intentionally as a complete Edo-period mounting rather than through later mixing. - All this was another big selling point, personally. This coherence underscores a later owner’s discernment, preserving the Sengoku-era blade within a thoughtful and unified Edo presentation. I’ll be adding an appropriate silk sageo, which is missing. Attached are some of the only photos I have so far, as it's currently pending the export permit. I’ll be absolutely stoked beyond belief when it arrives! The forum size limits are far too restrictive for high-resolution images, especially of the blade, so I'll link them from my OneDrive: 25445paper-1.jpg 25445-2.jpg image 001.png image 002.png image 005.png image 006.png image 007.png image 008.png image 010.png image 011.png Anyway, it’s great to meet everyone and join the forum, and I look forward to learning and sharing! I'm not a collector per se, more of an admirer of the art, skill, and a history buff. I don't see myself buying another one as this ticks all my boxes already. I'm going to have it on display in my living room and I'm writing a full-color coffee table book on the sword to print. It will be an absolute honor and privilege being the caretaker for this nihontō and Japanese history. - Alex

Konichi Wa. Sundays are for sword cleaning 🫧🧽. Many North American antique collections are found in poor condition due to the lack of awareness on what it takes to keep steel pristine - following the ritualistic cleaning of swords by our predecessors. Pro tip: use a mineral oil specific for carbon steel, like for example Yoshishiro brand oil; it protects the blade and other parts of the steel from rust. Mineral oil is colorless, odourless, and you should regularly clean your blades depending on how often you are studying/exhibiting them. As a rule of thumb I will maintain mine every two to three months, as that is how often our Toronto Token Kai (Sword Club) meets, where I serve as director. I begin by wiping the old oil with a microfibre cloth, and then use rice paper to apply a thin, fresh layer of oil on each sword. This method ensures that the artifacts in our care are preserved for future generations. I also commit to this process out of respect for Japanese history and as a meditative practice. These swords left the battles long behind, and the onus is on us to preserve them for their eventual return to the shrines of glorious Japan. 🇯🇵

The 4th character is not Seki.It is Ko. The characters read Mote yasugi ko. meaning made with Yasugi steel. Enjoy your Kanezane.

Nice choice. Welcome to the edge of the rabbit hole. And to the NMB!

Unfortunately they remove both now but I did download the image Cant post full res due to image aize restriction tho. I believe it went for well north of $100,000.00 USD

You ll see a lot of Sukesada blades come up. The quality after Eisho ( 1521 ) will be all over the scale. Many with poorly made loose hada. Some decent ones and a few nice Tokubetsu Hozon blades every now and then. The crown jewel of Sukesada blade was actually just on sale at AOI about a month ago. An insane work by the shodai Yosozaemon Sukesada

Nice blade @anguilla1980 Im a fan of sue bizen kiyomitsu but I do enjoy checking out Sukesadas whenever they come available. I did like that one when it came on AOI. This blade has a particularly defined jigane compared to other ones i ve seen in a while. Almost all swords from the sengoku , even high level zokumei blades will show tierdness in spots but even the core steel on this blade looks well forged for the most part. A very nice sword indeed with a very active hamon and boshi to top. Congratulations on the blade and hope to see more photos

Hi everyone! Currently I am in the process of adding this Kai Gunto to the collection, it is reserved for me. But before I bite the bullet, I would like to know what others think about this sword, and/or smith. I understand that his son became a Mukansa smith. I did notice the following: - Mei signed: IZUMO KUNI JU TADAYOSHI SAKU - I understand Neil has one aswell in his collection - Wrong tassel - Gives me an extra IJA tassel, but will replace with the correct brown IJN tassel - New NBTHK Hozon papers - White/brown-ish ito wrapping on a kai gunto? I dont see it that often, is this correct and possible? Or might that be because of the flash used on the photograph? - I also noticed that the birth and death dates are a bit strange of him and his son. Shodai Kawashima Tadayoshi is said to be born in 1929 and died in 1989, but his son is also born in 1929 and died in august 1989...That doesnt make sense at all, besides that Kawashima started making swords in 1934, when he was 5?... Not sure these dates are trustworthy I think it is a nice package. I've been looking for years for a nice Kai gunto with a Gendaito blade that I can relate to, and can afford This might be my chance Thanks in advance!

I will in fact *NOT* be using Brasso or Brillo pads. I'll leave it to Woody to give it the correction/care it deserves

For NBTHK I think they are doing great job and it does support the organization financially. My only worry is the large amount of items that they do process through every year. I think the organization realized the problem and they did put a item number limit to Hozon & Tokubetsu Hozon shinsa quite recently, and it is now limited to 1,600 swords per session. Now as they do 4 sessions per year that would be 6,400 swords, then you add the Jūyō submitted swords and it would be 7,000+ swords. Here are NBTHK numbers I digged from magazines 5+ years ago (I had actually forgotten I did this ): NTHK (including both branches) is much smaller organization, however I do know for their international shinsa they have the minimum item requirements for shinsa team to attend. I know NTHK is not preferred by market but I still value their opinion highly too. As the item submission numbers are quite large for shinsa sessions I am left wondering how many minutes each blade gets? Now the time invested will of course vary from item to item. I do understand that experts can see fine details in swords very fast and in few minutes can tell interesting things about the item, I have seen this in European NBTHK meetings for example.

If you want, post pictures of the Chinese characters and Trystan can possibly discern something we would overlook. I have learned the hard way not to ignore him! FYI, he is my official Chinese translator and occasional consultant on those very old Japanese characters long since dead. @BANGBANGSAN Old news for most, but see Joseph Needham's book. Bibliography of Early Japanese Firearms

I would recommend re-reading and studying the concepts in the Sesko article again. And I’d avoid jumping to conclusions of laziness on the part of swordsmiths without studying a lot more on the subject of suriage and anything nihonto.

Hi All, I am hoping you can give me information on this now my 2nd Tanegashima . Lars you were so helpful last time I asked - I'm hoping you can oblige again please. So Length is 1300 overall , and barrel alone is 1300 , bore is 15mm . If you could please translate the Mei ( Believe me I have tried - but I'm useless! ) Also id like to know which clan the Mon is. I'll have to upload more pics to help you - help me so I will try to reply to my own message and add more pics hoping it works. Also ..back to rust - as you can see it is a little rusty under the barrel - so my aim is to remove as much with a copper penny and brass brush and then just oil with maybe Camellia oil or 3 in 1?..then again Ive just read ACF 50 is superior at controlling rust? Last but not least - not sure you can see - but there is an area where there seems to be a split- I don't think it is deep - but also you can see an area it has lost its brass inlay. Would it be worth while/wise to replace the brass inlay - if so is there any links on how to achieve this? Thank you in advance .

While I haven't seen this "study" you're referencing, I'm not sure your conclusions follow or derision makes any sense, at least from your description of it. Do you have a link or source setting out the methodology? More generally, any list of top wines is one person or panel's subjective opinions, and one wouldn't expect a different person or panel to reproduce it. It's not some list with objectively gradiating features that distinguish one from the other in terms of "quality" when clearly they are all good wines. This is why people into wine read reviews and rankings lists written by multiple people and learn to understand the tastes and preferences of the reviewers and how they match up with their own. The question I would have thought more pertinent would be whether the experts (who I'll assume were sommeliers, not just connoisseurs) could identify the wines, not order them based on the results of someone else's rankings. This isn't to say there isn't plenty of bunk in the wine world, but I'm not sure whatever it is you've identified here counts for much. Regardless, back to swords, and while I certainly can't speak to any requirements of assessors, nyusatsu kantei is very much a thing and one would imagine something they participate in regularly. It might be worth your checking out the regular kantei problems posted by the NBTHK (latest here: https://www.touken.or.jp/english/nbthk/swordjournal_December.html) and referencing some of the usual books on the process.

江府住 - Efu ju 正之 - Masayuki 正義 - Masayoshi

Not surprizing. How do you quantify "taste" or "liking"? With swords (or any other works of art), it is not much better. There are many facts and variables to learn and to consider when making a statement.

Kenneth, welcome to the NMB forum! Nice little collection there, but to comment on the items we would certainly need close-ups for the details. Please use a dark, non-reflecting background for a good contrast when making photos, and cut off what is not needed to show the object. Photos of the HIMOTOSHI are always important.

The oshigata system was used until photographs became standard. They switched to photographed nakago in the late 90s.

I was reading the way it was written on the tang. Here's some info from Sesko: AKISUKE (明督), Shōwa (昭和, 1926-1989), Tottori – “Shikon Akisuke” (士魂明督), real name Yata Monji (矢田門二), born August 26th 1899, he was working as a swordsmith from about 1942 onwards, the prefix shikon (士魂) means “Samurai spirit” (see picture right) John C.

That picture of yours is stunning Kirill. When you combine high quality sword and high quality photography the result is amazing. I've been on a good roll on NBTHK monthly kantei but I must admit my real kantei skills suck. As I've been doing it for several years it is easy to catch some pointers that they sometimes use, had to check that I got that one correct. For example "The hada is visible and is a unique hada" in their English description points to zanguri. Usually that is pushing it to Horikawa and for 2 character signature I think Kunihiro is the logical answer. For me this is book knowledge that I have, in real life I could not say what is zanguri hada, as I don't have too high real life kantei skills. I saw this ōdachi at Nagoya Tōken World last summer, and it is my favorite Owari sword: https://www.touken-world.jp/search/127485/ maybe massive kissaki and strong width might hint that sword in OP could have been originally a big one like this one. Of course as I like ōdachi that would be my wishful thinking. I have seen the even larger 1620 dated Kanetake ōdachi at Atsuta Jingū few times but I don't like that much maybe as much. So far I have not yet seen the shorter Kanetake ōdachi of Atsuta Jingū, maybe some day I will. Of course NBTHK might have more than likely the most probable outcome. I just personally would wish they might have had more general attribution, like mumei Owari - Keichō-Shintō etc. Of course that is their style to go for direct attributions for specific smiths, I don't personally like that but I understand how that is what people actually want. Most would be probably very disappointed in just general attributions that would state roughly province and time period. Big thanks of all the comments and discussion, it is really much more fun to have discussion than just think about all the things alone.

Kabuto - 62 plate heavy . Iron Tehen and Agemaki ring. Edo period signed Saotome Ienari. This is a very well made helmet. Many thanks to Nick Ricupero for selling this to me.

I have received the sword and I must say I absolutely enjoy it. Just wow, really interesting and pleasing to my eye. I also did some research on that mon with the aid of a book that I have and I did found this design in there. Made some quick snapshots with my phone, enjoy(see posts below)

Interesting idea Bruce! I did some quick research and found some interesting mon's that might be something, like this example below. But it isn't quite right. Edit: This one seems to fit with the exact number of holes and in the same position: Apparently there is a Navy connection with this mon. The Kuki family served(in the navy) under Oda Nobunaga and later Hideyoshi(https://en.wikipedia.org/wiki/Kuki_Yoshitaka). I find it interesting to put 1 and 1 together but that would be too easy lol! Even someone from that family was named 'Kuki Tadayoshi'. But who knows

Hi David, This is certainly a good buy as kawashima tadayoshi (both shodai and nidai) are excellent smiths. Attach pictures of my katana made by shodai tadayoshi, his picture ( person in the middle) and oshigata for your reference. regards Ronnie

The sugata is indeed delightful and the kissaki, particularly so. As Jussi Ekholm pointed out, the jihada is great even in its current state. I can feel your disappointment but once it’s received a sympathetic polish (with some Brasso and a few Brillo pads 😉) I think it’s going to look fantastic! Keep your chin up in the meantime.