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Yanagawa Naomasa

雲州布部住弘光作 – Unshu Fube ju Hiromitsu saku 昭和十三年二月日 – Showa 13th year (1938), 2nd month

Hi Leen, Any marks on the nakago mune? Neat and nicely finished gendaito.

Some years ago an example was auctioned in London with a copper blade and parts of the koshirae were by some very famous makers. I'll see if I can find it. All the best.

I'd start at $1,000 and be ready for offers. The NMB For Sale section is here, you can browse other swords for sale to see the preferred format: https://www.militaria.co.za/nmb/forum/130-swords-and-edged-weapons/

This February 2026, we are pleased to introduce three new additions to our inventory — two Gendaitō by respected modern smiths, and one Koto-period Yamato tradition piece holding Tokubetsu Hozon papers. Each blade represents a distinct era of Japanese sword craftsmanship, from powerful contemporary work to a refined example of late Kamakura Yamato. 1. Rikuchū no Kuni Miyako-jū Kazuyoshi Katana Extra-Large Contemporary Katana with Imposing Presence A commanding modern katana by Miyako-jū Kazuyoshi of Rikuchū Province. This example stands out for its impressive proportions and strong sugata, offering both visual impact and substantial presence in hand. A powerful contemporary work suited for collectors who appreciate bold modern interpretations of classical form. 🔗 - https://www.toukentakarado.com/item-tk031-kazuyoshi 2. Higo no Kuni Yatsushiro-jū Akamatsu Tarō Kaneteru Katana Kiyomaro Utsushi with Horimono and Ō-Kissaki A dramatic Kiyomaro utsushi by Akamatsu Tarō Kaneteru of Yatsushiro, Higo Province. Featuring bold proportions, an expansive ō-kissaki, and skillfully executed horimono, this blade reflects deliberate study of the Kiyomaro style. A striking gendaitō that balances technical control with heroic aesthetics. 🔗 - https://www.toukentakarado.com/item-tk030-akamatsu-taro-kaneteru 3. Mumei Ryumon Katana Yamato Ryumon School — Late Kamakura Period — Tokubetsu Hozon Attributed to the Ryumon school of the Yamato tradition, this late Kamakura period katana represents one of the distinguished lineages connected to the Yamato Gokaden. Now holding Tokubetsu Hozon papers, the blade reflects the refined and dignified characteristics associated with Yamato workmanship. An appealing Koto-period example for collectors seeking an early and historically grounded piece. 🔗 - https://www.toukentakarado.com/item-tkc006-mumei-ryumon We invite you to explore these new arrivals in greater detail on our website. We look forward to serving you. Warm regards, Nicholas Fu Touken Takarado 🌐 www.toukentakarado.com

Brian, we have to imagine that a traditionally made sword-blade is basically a bonded sandwich construction in cross-section. The outer layers (= KAWAGANE) are high-carbon steel (hard, but not elastic), the inner part (= SHINGANE) is not hard but more elastic. If such a workpiece is bent, it will be stretched on the outer side of the bend, and the inner side will be compressed. The SHINGANE as the "neutral" phase of the construction will stay in place under 'normal' conditions unless the item is broken. In a technical context, the phenomenon is well-known (tension side/compression side) and used in construction not only with metals but also with other materials like carbon fibre and wood. Just think of archery bows, boat and plane construction, race-cars and even modern bridges building. However, the necessary forces to stretch the metal are lower than to compress it, so long before compression ripples can occur, we will se microscopic rupture cracks in the stretched surface steel (= SHINAE). Now if we remember how we broke a piece of steel-wire as boys without appropriate tools ( perhaps old pliers ), we experienced that bending it back and forth weakend the structural integrity so much that it broke eventually. Using more speed, we even felt the generated heat in the wire! So bending back a bent blade could remain without visible and practical damage in case the bend was rather shallow. Also, depending on the physical features of and the steels used in a blade, a bend might occur at lower or higher stress impact. Thus, correcting a bend might have quite different results, and in case we see SHINAE, there will most likely remain a weaker spot in the blade even if the SHINAE could be ground out! My explanation for ripples in a BOHI or on a SHINOGI-JI is, as explained above, probably caused by a narrow MIGAKI-BO working on a not perfectly fine ground surface. If MIGAKI-JI is carefully executed in several steps, this could be avoided, I think, as we see on many blades. I would not consider the ripples as KIZU.

If you were ever looking to do any real research into famous blades or sword smiths then the absolute first stop needs to be the Dictionary of Famous Fantasy Swords. This website is an absolute treasure trove for the sword ethusiast, collecting information and data from every major source and collating it in one place. History, Provenance, National Treasures, Imperial Treasures, Famous People, Daimyo & Samurai Families, Famous Swords, etc. Just hit translate on your browser (Chrome should do it automatically) and you are away. Become on of my favourite websites. If you have not discovered it already definitely go have a look.

Very interesting, Can we see the tsunagi in its entirety? Can’t say I’ve seen one made of a copper alloy. -Sam

Dear fellow sword enthousiasts, this wonderful sword by Masakiyo is for sale to make some room for other swords. Dated showa 19 (1944) star stamped in shirasaya. Nagasa 66,9 cm. Priced at €2500,- shipping not included

I should qualify the statement re the Sanekage. It was a naginata naoshi which obviously makes a difference from a commercial standpoint. The only detraction I could detect, from a personal perspective, was it had kaeri boshi on one side and Yakitsume on the other.

Tbh I must have missed that declaration re the Yari and tanto. While not 1.6M JPY, I did find a Juyo Kashu Sanekage blade for 1.8M in excellent polish 18 months ago. I was very tempted but I have my eye on something a little more special and closer to home, so kept my powder dry.

I believe the date is Feb Showa 13 (1938). The smith is perhaps Hiromitsu? John C.

It's got a significant kirikomi which may or may not detract from the package depending on your perspective. On the plus side the hamon is nicely disordered.

This doesn't satisfy the o-kissaki requirement but there is a TH Kencho for sale on Aoi as well for 1.7M JPY. I think it satisfies the other requirements of yours TH - Den Kanenaga - Aoi Art

find the difference

First time I've seen a modification to a Zufu 36 years after it was issued. What is the asking price? As an aside I would not recommend a Juyo and above level blade as a 1st purchase. You don't want to make your beginner mistakes on these blades.

Not sure if this has been posted, but I just visited the Juyo Token exhibition in Tokyo today and there were some amazing blades. Here is the list they are showing: https://www.touken.or.jp/Portals/0/pdf/english/（英語））第71回重要刀剣等新指定展目録.pdf They had a Hizen blade done in a killer hitatsura temper that was over 94cm nagasa! Absolutely stunning....but my favorite was probably the Yasumitsu. There was also an Awataguchi Kuniyoshi that belongs to Nicholas Benson that is being submitted to TokuJu, even thought its listed under Robert Benson. Also Awatguchi Hisakuni. Amazing to see 36 Juyo from all different smiths for future reference.

Nosyudo, 濃州堂 One of the highest quality iaito manufacturers in Japan, they are based in Seki (Gifu Prefecture) and much-loved by Westerners. https://nosyudo.jp/ Their English catalog: https://nosyudo.jp/catalogs/EnglishCatalog2025.pdf

Here it is......

Miranda: We don't generally do valuations here, however I can give you some info for your description. I believe the sword is signed Kanesada saku kore (respectfully made by Kanesada). The stamp above the signature is a Seki Cutlery inspection stamp. It also indicates the sword is semi-forged but not traditionally made. Traditionally made swords are made from tamahagane steel and are water quenched. The painted numbers (762) are assembly numbers. In addition, the fittings are not high quality and are missing parts. The tassel is also missing. This makes your sword slightly less valuable on the collector market but still has military/historical value. Folks on ebay tend to list these for crazy prices. I recommend using ebay completed auctions and search for "ww2 Japanese sword". Find similar examples and it will give you an indication as to what these actually sell for. John C.

This sort of obfuscation is surprisingly common on Japanese dealer websites, more so than the English dealers who usually try to educate the buyer (eBay/auction sellers excepted, obviously). They'll put some verbiage about the most famous/sought after smith in the line that the blade belongs to, and leave it to the buyer to realize that the stated era the blade is from doesn't match said smith (or to read the attached papers and note the specified era or generation).

Thanks so much, Steve. You are absolutely spot on. Turns out that "When poor, one should cultivate one's own virtue; when successful, one should benefit all under heaven," comes from Mencius, Book 7, Part 1, Chapter 9, which reads: "Therefore, a scholar does not lose righteousness in poverty, nor does he stray from the Way in success. When poor, he does not lose righteousness; therefore, a scholar holds possession of himself. Those who achieve success do not stray from the Way, therefore the people are not disappointed. In ancient times, those who were successful brought benefits to the people; those who were unsuccessful cultivated themselves and made their virtues known to the world. When poor, one should cultivate one's own virtue; when successful, one should benefit all under heaven." Yamaoka would have studied Confucian thought, as did all well-educated samurai.

My Japanese skills are meager, but both postings are great examples of obfuscation. Eirakudo sword is papered to Seki Kaneuji. Very indirect relation to Nambokucho Kaneuji, who dominates the description. Late Muromachi work, its ok but a bit bland and ambitious. Fuyuhiro - nowhere it says this is the first generation. Yes, its probably Tensho period work. Again its not real quality, but beginner friendly in terms of being easy to appreciate, showy.

窮則独善其身達則兼濟天下 Something like: In times of plenty, the virtuous man strives to help others. In times of need, the virtuous man strives to help/improve himself.

Welcome to NMB, @Harlekin2xs. If you like Soshu blades, I'm not sure that I'd be focused on the two you've identified. The Kaneuji is not the same as Shizu Kaneuji of Soshu den (Eirakudo's description is a bit confusing on that point) and its hamon looks very one-dimensional to me. Good quality Soshu has a three-dimensional hamon with lots of activity inside the hamon. What is your budget? Knowing that might help us point you toward blades that better fit your collecting interest. If you are new to this hobby, many advise to take your time before purchasing a sword. That's because many (myself included) have regretted our first sword purchase as we gained knowledge. Taking time to study swords, especially in person, and increasing your knowledge of swords is invaluable to making smart collecting decisions and finding what truly appeals to you. There are lots of swords out there, so you have plenty of time to find the right first purchase.

Ditto! For the record, here is the official translation of the sword's explanation plaque in the Sword Museum: Reading between the lines a little, one can infer that in the time since Kanzan's tenure, either more "early sword records" were found that describe precisely the sort of construction and hardening seen here as the work of Yukimitsu; or alternatively further research and deliberation have led the panel of experts to decide that the blade does indeed match the descriptions they already had.

Yes, Rohan, that is quite the fascinating blade…. A unicorn, as you can imagine, and I am glad it has now been papered up to Juyo and properly documented.

Morning, I acquired this statue from an estate sale last week which I was lucky to snag him, since he has an aura that really wanted me to possess him. I haven't seen anything like this before, would it have been a temple or shrine, or home altar where this statue could've been? overall length is 34 1/2 inches, Fudo is 25 inch without the platform w/ 27 3/8 inches, and the flames are 34 inches There is a bit of damage to the flames and repairs (not by me) are present with nails and glue, some chipping of the black paint on the statue and a missing gem on the forehead which is interesting

Image of sword in-use (in training). I share this image every chance that I get, so apologies if some of ya’ll have seen it before. I find it fascinating, and very cool. I would frame it, but I like having access to pages within. Best, -Sam

Those scratches look like they came from sandpaper or a tool of some kind. Like an amateur tried to repair or remove the results of some misadventures. I respectfully disagree with Alex. Scratches from tatami on wara are generally more subtle than this, so I don’t believe that’s what this is. They’re also a bit too close to the end of the blade in this case to reflect consistent use for tameshigiri. There’d be no need to do anything in the kissaki if the blade was used for actual tameshigiri practice.

These are two phrases that originate from the Zhuangzi (莊子) and are related to the Daoist concept of the spirit. A rough literal translation would be something along the lines of 萬物服 = all things submit 一心㝎 = a stable heart and soul

Robert, the iron used for this namban tsuba is really of poor quality as the majority of these end of 19th century tsuba. Difficult in fact from a single picture to determine the building process of it. Anyway I liked the mixt of dragon and juzu in quite a large pièce [8cm].

That is a terrible replica...... Fortunately I have a service where I will take this off your hands and properly dispose of it........and I won't even charge you. You can trust me, I go to church. Seriously though, wow......what a beautiful piece

Mauro, Clearly the Japanese were very embarrassed about doing it. Because they managed to hide all the old writings on it, pattern books, instruction manuals, pretty much all the documentation that they did routinely for all the other methods. I mean look at all those Edo school pattern books and patina formula writings etc that they left behind for all the other methods. So they must have taken great care to make sure that any family history and instructions were rolled up and smoked to make sure they didn't make it to modern museums and book stores.