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Hello, After some research in the Wakayama I found that most of the Hirata production was in shakudo. However 8th and 9th generation works also in shibuichi and made butterfly among other. So maybe ?! Sharing additionnal photos, just for the pleasure

Norishige is an interesting one... The Kiami-Bon Mei-Zukishi of 1351 states that Norishige was the student of 1. Shintogō Kunimitsu from 1308 to 1311 (aged 18-21). That was only 3 years which is not long enough to become a smith under normal circumstances. What it does not state is that it was only three years because Shintogō Kunimitsu got ill and shortly afterwards died. Meaning that Norishige needed a new Sensei and so we are told he moved to Toshiro Yukimitsu's forge to continue his study under him in 1311. As we know Yukimitsu is said to be the father of Goro Nyūdō Masamune and the most senior student of Shintōgo Kunimitsu, so this move makes logical sense in the context of the relationship with Shintogo Kunimitsu. FYI, Kunimitsu died a few months after Norishige left in 1312 - he was only 62. This move is captured in the Koto Mei-Zukishi Taizen who expands on Norishige's studies and states that Norishige studied for a further 15 years (18 years in total) and had a total of 3 more sensei after Shintōgo Kunimitsu. They read like the proverbial whose who of Soshu smiths: Sensei 2:⁠ ⁠Toshiro Yukimitsu (Time spent: 1311-1321) He spent 10 years with Yukimitsu and as such Yukimitsu can be considered Norishige's foundation smith (although he was just teaching him what Shintogō Kunimtisu taught him... Soshu Style. *As a side note, Yukimitsu was actually older than Shintōgo Kunimitsu by two years. That his first dated blade appears in 1319 makes sense in this context. "Saeki Norishige made this." Sensei 3:⁠ ⁠Gō Yoshihiro (Time Spent: 1321-1324) He then spent 3 years studying under Gō. Many assumed Norshige taught Gō but it appears the opposite was true. This is while we know Gō was 9 years younger than Norishige and died 1 year after Norishige left his forge in 1325. Norishige was clearly seeking knowledge from the best regardless of age. Sensei 4:⁠ ⁠Masamune (Time Spent: 1324-1326) After Gō, Norishige finally went to go study under Masamune and spent a further 2 years studying under Masamune - Gō died the following year in 1325. Norishige according to the Koto Mei-Zukishi Taizen literally learnt under the greatest smiths ever - I am not sure there is any other smith that can claim such an incredible lineage of sensei. If anyone was a product of Sagami/Soshu, it was Norishige. Unreal! It also shows the amount of thought and experimentation that was going on during this time - Norishige's blades are renowned for showing all his learnings and experimentations (some great and some not so much) and you can definitely more than any other smith track his progress and development through his blades. He was a keen learner and experimenter and wanted to learn under as many smiths as possible to find out what worked and what did not in persuit of the perfect blade. This included studying under his junior by age, Gō Yoshihiro, just like his Sensei Yukimitsu studied under a younger Shintogō Kunimitsu. It is therefore appropriate that the Etchu School of smiths can rightly be called the Gō School. It also shows how close and familiar all these Soshu smiths really where with each other. To explain the period I can only really compare it to the early days of Silicon Valley, everyone came in from everywhere share ideas, learn, experiment and build a brand new way of doing things. Because everyone was willing to share, everyone literally knew everyone! This is why this period really was the Golden Age. I also want to share a little side story here about Gō which is kind of fun in terms of chronology. From the above we know that Norshige studied under Gō in 1321, but what makes this date even more interesting is that it gives us an end date for Gō's studies with Masamune. That is Gō started his studies under Masamune at the age of 21 according to both the Kokon Mei-zukishi Taizen and Oseki Sho, this means if we do the math then Gō only studied for a total of two years or so, from 1319-1321, under Masamune - as he was aged 21 in 1319. This means this kid somehow managed to download everything Masamune was teaching in just 2 years (creating blades that equalled his master) and then he went on to teach Norishige at just 23 years of age. This kid was a trip. Yup - mind truly blown. I also have some ideas as to what encouraged Masamune to start teaching as I believe Gō was one of his first students, but I will leave that for another day. What is not answered is how this boy genius already possessed enough smithing skills and gravitas to impress Masamune enough in the first place to allow him to study with him at age 21 (I am still researching this - was there a Yamato link, which specific blades suggest the link? Much to learn.) What we do know is that Mount Tateyama, in whose foothills Gō grew up and had his forge (Matsukura District) is one of the three Sacred Mountains of Japan and as such it is said to be the home of heaven and the underworld, so perhaps Gō on one of his hikes up the mountain did a deal with the devil? Would not be the first. Also explains why he died at age 27 like every other legend. I think he may actually be the first to join the 27 club? (I jest by the way - or do I?) Regardless, if the stories are to be believed then, the word prodigy in the ilk of Mozart or Da Vinci is deserving of this kid from Etchu and he definitely deserves to be one of the Tenka-Sansaku. 🤯 Here is a image of a cross section of one of Gō's Tokubetsu Juyo Masterpieces where the Hamon looks remarkably like the reflection of Mount Tate in the Mikuriga-ike Pond. If I was to guess, this kid Gō clearly loved this mountain - he is said to have climbed it to get it's iron sands for his swords from the streams as close to the source as possible. That the quality of his blades have lasted 700 years, some as fresh as the day when they left the forge, speaks volumes to the secret knowledge he had managed to collect in his short life.

越後守藤原國儔 – Echigo no kami Fujiwara Kunitomo 但シ一部折返銘 – However, it is partially an orikaeshi-mei. 生國　日向飫肥 – Home country, Hyuga Obi 山城國堀川住 – Living in Horikawa of Yamashiro province 信濃守國廣門人 – Pupil of Shinano no kami Kunihiro 時代 - Era 元和頃 – Around Gen’na (1615-1624) 刃長　貮尺参寸余有之 – Blade length is a little longer than 2-shaku 3-sun. 平成五年極月吉祥日　謹研磨之 – Polished this on an auspicious day of December 1993. 研師　眞津仁彰 – Polisher Manatsu Hitoaki

Norishige was also said to be the preferred smith of the Moimoi which makes sense if you are the best smith in the Province. I would love to go back in time to have tapped Albert Yamanaka's mind regarding all of this to get his thoughts or Homna Sensei's or even Darcy's. Man so much knowledge and thinking now lost to time. Of course much of what was not written down is because there is no historic proof and therefore it remains in the realm of theory or speculation but it would have been such a lovely conversation to have had just to hear their thoughts on historical events specific to the the various smiths. Best we can do is read what they left behind (these newsletters being a major asset) and hopefully we uncover a small nugget that helps us understand more. If for nothing else, this is why I love this forum - it is a treasure trove of knowledge and thought.

By the way, the idea of using a peg to hold in a cord like that is neat, but I haven’t seen any evidence that the holes in the pinch flaps were used for that purpose. It’s an idea, and a small pin could serve to stop the cord blowing away at ignition, but cords burn constantly and need to be moved forward with every shot. A locking pin for carrying then, to prevent misplacement or loss of one’s match cord? Many serpentines do not even have holes there. There is also a theory that they were to allow air to permeate the cord, helping to keep it alight. Or were they simply decorative? Anyway just something to think about, as the answer is not yet clear. We’ve had this discussion before. The answer must be out there somewhere.

I think Kiipu is speaking of blades that we have seen the tang and machi alignment. Rare to see on the Type 95. For your records, 857 belonged to a friend of mine and has a 東 stamp on the tang. Serial number 4 is my lowest recorded. Serial number 71 is the lowest that I've personally observed photos of; and it has the cutout for habaki. But we have not seen the tang or the ha-machi/mune-machi for this blade. https://www.militaria.co.za/nmb/topic/22385-type-95-nco-copper-hilt/ All the best, -Sam

Been in the Market for a Funada Ikkin Tsuba after finding out my Fuchi/Kashira set were his work. Luckily @Curran saw the listing and sent it my way. I couldn’t be more happy with it. It captures his very distinct style of work and even though the entire mei is a bit hard to read his kao is perfectly on display. It’s not papered but the workmanship and mei seem to really fit so I wasn’t too nervous about purchasing it. This is actually my first real purchase as well since the other pieces I simply inherited. Thanks to Curran for the assistance and hope you all like this fun new/first addition to my collection! Purchased from JPAuctions via Buyee on Jan 19, and just arrived today Feb 7. Overall positive experience with them. The actual packaging could have used a little work. It wasn’t very secure but since it’s iron it took the trip well. I would maybe be more concerned about more delicate pieces however. Thanks for looking, Cole

My Senjuin blade. I've been looking for explanations how Norishige might have had an entre into the Shintogo Kunimitsu atelier. It appears the Saeki clan origins of Norishige could explain a connection. Historical texts say the Saeki served as senior retainers to the Otomo clan in Bungo during the Kamakura era. That gives us a link, at least geographically, to Bungo Yukihira who is said to be Yukimitsu's father and this association may have been the introduction Norishige needed to join Shintogo & Co. Furthermore, the Ko-Hoki smiths were Kyushu-based and this local Clan connection might explain why he was so fixated throughout, but especially early, in his career with their blades and style. Nice to consider the possibility his first sensei was one of these Ko-Hoki smiths. I doubt he would have acquired a taste for this 'rustic' style, nor the techniques, from the Kyoto Awataguchi tradition of Shintogo. This very unusual nagamei inscription on a TJ tanto has raised an interesting connection to Hoki Sanemori. Under what circumstances would Norishige have included a reference to another smith on one of his blades? Out of deference or acknowledgement? Markus S says there were several generations of Hoki-Sanemori so perhaps one of these was his first teacher or associated in some way with his early training. Worthy of further study. This is an extract from Soshuden Museum discussing the Mei. It is necessary to point out the existence of another tantō, which, unlike the previous ones, has survived up to modern times: Tokubetsu Jūyō No. 9. It was also signed by the master in a slightly unusual way. Above the signature, the 勝 (Shō, Katsu) kanji is located on top of the only mekugi-ana. It has the following meanings: “win,” “victory.” The large space between the smith’s signature and this kanji emphasizes that there is no connection between these two elements. This kanji was known to be used in signatures of Hōki Ōhara Sanemori (伯耆大原真守). However, he placed it on the tachi on the haki-ura side, where the date of manufacture had to be located (e.g., see Sanemori’s tachi classified as Tokubetsu Jūyō No. 19). The appearance of this kanji in Norishige’s signature seems strange, especially since it was written in smaller strokes than the signature itself. NBTHK experts conclude that it is part of the master’s signature. Consequently, Norishige explicitly denoted his relationship with Sanemori, as well as with the Ko-Hōki (古伯耆) School. This school’s strong influence has always been reflected in the works of many smiths connected with the Sagami School and especially in Masamune’s swords. However, we should note that this blade was dated 1314. This sword was forged before Norishige started his training with Masamune, whose artistic works were most directly associated with Ko-Hōki. Therefore, as a result, the meaning of this kanji has not yet been clarified.

This is why I believe Norishige already had a Sensei prior to Kunimitsu. It was normal for apprenticeships to start when the student was in their early teens (basically strong enough to swing a hammer with some accuracy and control). This would suggest he had several years swordsmithing experience under his belt before joining the Sagami atelier. And like Go he must have shown some considerable prodigy-like skill to be allowed to learn the techniques of, and be taught by the old grandmaster. Not long after he would sign his own blades. Earliest in oshigata dated 1309. This must have been quite meaningful in that Kamakura period context, suggesting less sensei/follower relationships (with Yukimitsu/Go/Masamune) and more like an equal, collegiate arrangement. Yes, Norishige is quite the enigma amongst the pantheon of early Soshuden masters.

大和守口口作 - Yamato kami blank blank saku. Looking down the list of smiths with the title "Yamato Kami" in Sesko's Compendium to try to fill in the blanks, a plausible option might be Ujinaga (氏命) based on the shapes I imagine I'm seeing but it's a bit of a guess. Do you have a better photo Peter or can you do anything to highlight the strokes in these kanji to make them a little clearer?

Dear all! I do not know how to classify this piece: it could be an investment (the total weight is around 217g which means that we are talking about a significant amount of gold) or a nice addition to your collection. The quality of the workmanship is fantastic, it is ubu (no hitsu-ana) and undamaged. Dimensions: Height: 8.08cm Width: 7.64cm Thickness: 0.55cm (becoming slightly thinner towards the Seppa-dai and Mimi) Nakago-ana (Height): 2.74cm Nakago-ana (Width max): 0.79cm Asking price: 1,400.00 EUR plus shipping costs Shipping costs: Germany EUR 13.99 EU EUR 28.99 Worldwide EUR 54.99 Best Chris

Excellent writeup, to which I can only add that there is a compelling case to be made for Go's father or original master being a Senjuin smith named Yoshihiro. You can find some discussion about this, and other speculation regarding Go's Yamato heritage, here:

Nice find, Jaco. I metal detect at the beach on occasion (Equinox 800) but all I find is coins, gold jewelry, and bottle caps! John C.

You could change the time zone on Your computer when visiting a certain forums though.

I have not come across the Kabuto-Giri Gō in my journey. Do you have a link to it with more information about it? Would be fascinated to learn more. Out of interest is this the Gō Tanto they have listed as Juyo Bunkazai? If so I did not realise it was a meito. For clarification are these images of the Kabuto-Giri Gō or your Senjuin sword? Thank you. With regard to his training as a Samurai, if he was from a Samurai family he would have started his training at the age of 5 and completed it at his Genpuku (12 years.) They were expected to be battle ready by 13-14 years old at the latest. Unreal. This gives him another 7-9 years to focus learning his craft of being a sword smith. Obviously this would be interrupted by any retainer duties but for all that was going with regard to the Samurai's discontent with the Shogunate there were no major skirmishes or battles where the Moimoi were involved during this time. In fact it appears that his life by enlarge was lived during a period of relative peace, if such a thing was possible. One major event that does happen in Gō's lifetime was the Shōchū Incident, which was the first, failed attempt by Emperor Go-Daigo to overthrow the Kamakura Shogunate and restore direct imperial rule. The plot was discovered and suppressed by the Shogunate's representatives in Kyoto, but it marked the beginning of serious, organised opposition to the Hōjō regency that ultimately lead to the collapse of the Kamakura Shogunate in 1333. Interesting the Shōchū Incident happened in 1324, the same year Norishige left Gō's forge and Gō died in 1325. Also interesting that the Moimoi were a branch of the Ashikaga clan who were active supporters of Go-Daigo and ultimately helped him overthrow the Kamakura Shogunate. You have to wonder - was Gō somehow involved? Especially when one consider's his supposed sudden death? One explanation I read stated that he committed Seppuku - it does make you wonder. Any way, it is very interesting.

Richard, you need to focuse clearly, use a dark background for better contrast, and show the TANTO as cut-out so not much of the background is to be seen. Look at the results yourself. This also saves some data volume. You can try to push the HABAKI back with a piece of wood; don't use a metal tool to prevent damaging it. Do you see HAMON or HADA at all? MUROMACHI is not exciting per se, quality and condition is what counts!

Hello, I would be grateful if someone could translate this signature for me.

Have a nice day. I took a new picture of the hamon. I hope it's good enough. The hamon looks worn all along the edge. I can't get a better photo; I think the blade has suffered a lot over the years. It's a bit easier to see in person.The damage from the fighting hasn't penetrated the hardening process. The damage on the spine of the blade, for example, is a bit deeper, which is probably due to the softer steel.

Nice pics @Lewis B, always good to see some quality (and interesting) Yamato work. Also worth considering that another reason we see the similarities between these earlier schools and Soshu is that it wasn't just the Soshu luminaries who tried to reproduce the old Ko-Hoki masterpieces, which were also known for their lively hataraki and extant examples of ichimai boshi. We know that Masamune, in addition to his own inimitable style, also produced works that were very obviously inspired by Ko-Hoki; it's possible that this may be one of the things that drew Go and Norishige to Kamakura, but it may even be the case that they they were the ones who introduced these techniques and appreciation of Ko-Hoki to Masamune (or at least fanned the flames of his desire to do so).

Certain schools fitted kuchi-beni type sekigane as a standard feature [Tanaka - Nara]. "Kuchibeni were also used by masters of other schools - Akasaka, Hoan, Kinko". [ https://en.topwar.ru/152197-legenda-o-cuba-cube-chast-3.html#:~:text=Kuchibeni were also used by,of the kogai-hitsu-ana and kozuka-hitsu-ana. ] I guess it made fitting easier or was a decorative feature for those that collected tsuba without intending to mount them?

Thank you @MassiveMoonHeh for a very interesting and thought provoking op-ed. The analogy to the early days of Silicon Valley and how this brought together a critical mass of knowledge and advancement through experimentation and collaboration is just so apt. One can only imagine how Soshuden might have evolved had the Kamakura Bakafu stayed in power and these early Grandmasters remained in close proximity..... @eternal_newbie made a timely resurrection of the thread discussing historical connection between Go and Yamatoden. Only one extant blade attributed to Go exhibits a clear Yamato and Soshu influence but there are blades by other makers that blend the forging styles and deki of these two gokaden. I think old oshigata show blades by Go existed with Yamato influence. The obvious exponent of Yamato and Soshu styles is Shizu Saburo and his followers. But also Senjuin Yoshihiro can be added in the mix. Working back from his active dates and examples of blades with nengo, we arrive at a DOB ca. 1280, it's certainly within the realms of possibility he was Go's father. I'm curious how Go could have been smithing in Sagami and also be a retainer of the Momonoi family in Matsukura, given his young age. Whatever the truth given what he achieved in such a short time clearly establishes his prodigy status. The pact with the devil theory is a unique perspective Exploring the connection of Go with Senjuin Yoshihiro, we can see how the young Go might have been taught Yamato styles of sword making. I have a small, thin 62cm o-suriage kodachi (shortened approx 10cm) that has NBTHK attribution to Senjuin. However it has strong Soshu forging style influence, and thus is open to some interesting possibilities, such as being by Senjuin Yoshihiro. The hataraki, the ichimai boshi with hakkikake, chikei throughout some with an angular shape, yubashiri, sunagashi and ara-nie with tightly forged itame hada and surface nie throughout giving the blade a wet appearance. All that mixed with the Yamato features of masame with a high and wide shinogi. I need to spend time comparing the features on this sword with those of blades attributed to Go, especially the Kabuto-Giri Go This blade was originally part of the Tsukamoto museum collection and I can see how it would have appealed to a collector from an academic standpoint. The juxtaposition of characteristic features from two different gokaden in one blade is quite unusual.

I don't think there is a way, unfortunately. Maybe on the new software.

Yeah, these were definitely not acquired in Japan, as they would have been very illegal there.

It's interesting that the tsuba was signed after the sekigane was added. This means the tsuba was originally made with it installed, for later fitting by the owner. We tend to think of tsuba being made to fit after they were purchased but this shows (if shoshin) that they could be made with that already installed for fitting to your blade. hmm

Those actually look really good though...

The dealer I purchased my sword from was good enough to provide me with a high-quality photo of the 1958 Torokusho registration. I know it has to be surrendered upon export in a couple of weeks, so I'm going to print it out life-size on to some cardstock to keep with the sword. I think it's cool to have. I've also done some further research on the craftsmen who signed the fuchi, Maruyama Sōzan. It looks like he was active from the Kyōhō to Hōreki era (ca. 1730s to 1750s). The Maruyama school was known for producing high-relief, sculptural fittings that combined traditional themes with a refined sense of balance. It's possible the tsuka has been re-wrapped since then, and it's in hineri-maki style. All of the mountings are a common and coherent motif for mid-Edo; dragon in clouds/waves (representing celestial authority, power, and dynamic force) on the fuchi and kashira, abstracted futatsudomoe forms (associated with natural forces such as wind and water) as the tsuba, and abstract vegetal imagery (evoking growth, vitality, and the sustaining rhythms of the natural world) for the menuki. I found this info in the Haynes Index and Markus Sesko's Signatures of Japanese Sword Fittings Artists. It's been a real joy diving into these little details and learning about them. For me, this is what it's all about when I buy an antique.

If it has been obscured by scratches or rust, a new polish will most likely be able to restore it. If it is gone due to fire damage, then yes, the blade must be re-hardened (saiha) to restore a nioiguchi. If it is gone due to tiredness then the blade is beyond recovery - too much material has been lost to even attempt re-hardening it. You can see an example of this re-hardening process on the Usagiya website: http://www.ksky.ne.jp/~sumie99/sword6.html

Some further information here, I will clarify that there's no monetary value but there may be sentimental value for your relative. https://www.jssus.org/nkp/fake_japanese_swords.html

Hi I recently found these 2 items metal detecting and thought it was some heavy duty key echuseon but was busy putting my finds in bags and containers and labelling them and realised this looks like a sword guard, google lens confirmed as Japanese tsuba, this was found here in Cape Town what is odd to me is the 13 stamp. I came across this thread and looks to me there is very knowledgeable gentleman on here, could you kindly help to identify this and possibly the age please it would be greatly appreciated.

Hello Greg, unfortunately these are all modern low quality reproductions with little to no value.

If possible, change the title to "New TSUBA by Funada Ikkin"

Richard, welcome to the NMB forum! On the NAKAGO, KANE is quite clear, 義 (Yoshi) is a possibility but the photo is not clear enough. Also, there seems so be slag on the NAKAGO which could be an indication of it having been in a fire. When you make new photos, please take the HABAKI (not Hibaki) off and use a dark, non-reflecting background for better contrast.

Nakago has a Mino feel to it, and Kane kaji is common in Yamato-descending Mino lineages, which is a lot... So Mino smiths, late mid to late Muromachi is a possibility. Its easier to be sure seeing the blade. Is I a person of knowledge is arguably a more difficult and esoteric question.

Blade　刀身　Tōshin Blade Notes Blade Note 1: The early blades had the notches for the habaki aligned. This is the traditional style used on Japanese swords. The lowest observed blade is serial number 857 and the highest is 6320. In addition, there was only one hole for a grommet screw toward the rear of the tang. Blade Note 2: About the time when the handle was changed to aluminium, offset notches for the habaki were introduced. The lowest observed blade is serial number 7249. The lower blade notch engages with a built-up dam inside the lower part of the habaki. Also, a hole was added behind the habaki for a brass or steel mekugi. Blade Note 3: The nakago [tang] can be found either marked or unmarked. Occasionally arsenal symbols or company logos are seen. Serial number 6320 has a Kokura Arsenal symbol, while serial 209247 has a Seki Tōken KK logo. The most common marking encountered are army inspection marks. The following army inspection marks have been noted on the tang: 東, キ, ホ, 名, 関, M. Blade Note 4: Some of the early Type 95s were used by officers and have kanji numbers chiseled into the lower tang. Blade Serial # The Kokura serial number is read with the blade edge down while Nagoya & Jinsen Arsenal is read blade edge up. Some Jinsens have the first digit overstamped with a 3. The overstamp can be faint or partial, making the first digit hard to read. Blade Inspection Marks The early Suya made swords did not have a visible blade inspection mark by the serial number. Instead, it was stamped on the tang and thus covered by the hilt. This occurs early on in two distinct blocks of serial numbers. Kokura & Nagoya used a final inspection mark, either before or after the serial number. On Kokura, it comes after the serial number, while on Nagoya it comes before. In the Nagoya two hundred thousand range, the final inspection mark is occasionally stamped behind the serial number. Jinsen used the Heijō Factory inspection mark. In addition, Jinsen sometimes used an extraordinary inspection mark that will appear either before or after the Heijō Factory inspection mark. The individual inspection marks can be seen in the “Inspection Marks” section above. Blade Fullers Blade will be either fullered or unfullered. The original design was for fullered blades; but, late in the war some arsenals and civilian companies omitted the fuller.

Thanks again Piers , It’s certainly worth considering , and love your puns! 😊

Inspection Marks　檢印　Ken’in The following inspection marks have been observed on the Type 95 Military Sword. They can be found stamped on most of the major parts. Arsenal Final Inspection Marks 小 = Supervisory Section of Kokura Army Arsenal 小倉陸軍造兵廠監督課. 東 = Supervisory Section of Tōkyō 1st Army Arsenal 東京第一陸軍造兵廠監督課. 名 = Supervisory Section of Nagoya Army Arsenal 名古屋陸軍造兵廠監督課. 関 = Seki Supervisory Section of Nagoya Army Arsenal 名古屋陸軍造兵廠関監督班. 仁 = Supervisory Section of Jinsen Army Arsenal 仁川陸軍造兵廠監督課. Factory Inspection Marks ホ = 1st Factory of Kokura Arsenal 小倉陸軍造兵廠第一製造所. キ = 2nd Factory of Tōkyō 1st Arsenal 東京第一陸軍造兵廠第二製造所. ヘ = Heijō Factory of Jinsen Army Arsenal 仁川陸軍造兵廠平城製造所. 社／社 = Old/New characters. Each civilian/private factory under army supervision 各民間工場. Complementary Inspection Marks Can be used by any factory. M = Interim or partial inspection mark. X = Failed inspection mark. Extraordinary Inspection Marks Can be used by any factory. ◯ = Adopted based upon special incident specifications. ㊁ = Adopted as a clause 2 item. This means it was downgraded but still usable.

Jaco, There were 3 kinds of swords during WWII that used that shape tsuba - Army contingency model (Type 3), Navy kaigunto (Type 97), and the post war souvenir made by the Tenshozan factory. Army NCO Type 95 had one, too, but it would have side hole for the locking latch. Left to right: Kaigunto, Souvenir, Army Type 95 NCO (didn't think to add the Type 3 when I made this photo) If you would like to find out is to measure the thickness. Souvenir tsuba are noticeably thinner at 3.64mm compared to 5.3 for kaigunto. Yours could be either, but finding 1 small seppa with it starts leaning toward the souvenir as they came with only 1 seppa. Could be simple coincidence, though, if your tsuba is thicker. It's peculiar to see the assembly number stamped so close to the edge. They are usually closer to the center to be hidden by the seppa. This may point more to the navy kaigunto, as they had a dai-seppa that was quite large and might have covered that number. Cool find!

It would be nice to see closeup of hamon… otherwise so far looks ok

Rohan, Thanks for the knowledge. I have one more question: can nioiguchi also be restored by polishing? Or should the blade be reforged to make it?

This work reflects more than 20 years of dedicated effort and expertise, and it unquestionably deserves recognition and appreciation. The depth of knowledge, skill, and care that went into it is clearly evident. Dmitry Pechaelov is open and friendly in communication, approachable, and a pleasure to interact with. Shipping within Europe is 20 EUR.

Let them eat cake! [chocolate for desert!]

Yes I did! I don't even have access to that old email anymore. I chose David Hofhine. According to some I may have made the wrong choice there. I think I remember years ago when I was trying to choose who to send it to I just got sick of going over all the details on who was more certified and chose someone that, from what I could see in the images, produced the most attractive results.

Hi Robert, I couldn't agree more. My earlier comment was not criticism of the focus. The factual errors that we have vehemently denounced are the product of a particular paradigm of historical analysis that focuses on power dynamics, deconstructionism, and post-modern revisionism. In this paradigm, convergence towards historical accuracy is subordinated to the greater goal of pushing novel narratives to enact society change. It is this inversion of teleology that I take as responsible for the fall of Western scholarship in our field. Or, simply put: when the purpose of scholarship shifts from "finding out what was true" to "changing what people believe," accuracy becomes optional and errors become inevitable. Hope this helps to clarify my position, Hoshi

Dai - signed Harima Daijo Tadakuni - ubu 75 cm with koshirae Test cut - yamano Nagahisa cut 2 bodies in half dated Sho - signed Harima Daijo Tadakuni - ubu with Koshirae 43.2 cm Test cut - Yamano Nagahisa cut 2 bodies in half same date as the Katana Nagahisa was the most famous test cutter of the Edo period . Rare to find daisho with test cut on the same day

I've learned something else. Aoi had the sword listed as 1576. But comparing the "Tenshō 3, 8th month" (天正三年八月日) inscription against a modern calendar, and knowing that in this time period the Senmyō-reki lunisolar calendar was used (which was the specific system in use during the Muromachi and Azuchi-Momoyama periods before the Jōkyō calendar reform) - it actually looks like my sword was made in 1575 and probably in September. The 8th lunar month in that year technically was a window between September 5 – October 4. Anyway, I'm sure this is the tip of the iceberg in learning about these swords. I gotta say though, it's pretty fun learning all this stuff.

The hidden Christian tsuba brigade are really stretching it: https://www.jauce.com/auction/h1218777130 The fact that there is nothing hidden about the religious nature of this design, plus the fact that it is a cast piece [only designed to be seen on one side at that!] totally negates any idea that it is in anyway real or worth even advertising!

Darn that gold jewellery :-)

Hiring a competent curator makes department head look dumb with little to no practical benefits.