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Thank you all very much for your help - This truly is a weird guard [I have shown it long ago] It has two "prongs?" that project out in front like european sword breakers - just weird, so right up my alley

@anguilla1980 As much as we like to romanticize the koshirae of a blade. You will find out yourself eventually that it is next to impossible to theorize when or how many times a blade has been remounted. It could have seen several dozens of remounting for all we know Furthermore, koshirae are put together and thrown on a blade by dealers to boost appeal ALL the time. AOI is esp good at this. And I am far from being considred knowledgable when it comes to fittings but at a glance, it looks like the ito and samegawa are relatively new. The ito in particular was not done by a skilled tsuka maker and this can be seen by the unevenness of the diamonds. We also dont know about the origin of the saya and personally , I would never recommend puting a blade into a dealer saya. A proper saya is always custom made to a specific blade and we dont know how or where it s contacting the blade. My Kiyomitsu came with a Koshirae and I would never in a million years attempt to mount it on the blade. https://eirakudo.shop/token/wakizashi/detail/319916

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, saku, 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. This one is ranked Jō Saku. 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 25445-4.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

Many other good reads like this can be found. It seems to boil down to superstition, and the practical side of my brain agrees that especially during a time of ongoing war, swordsmiths probably didn't suspend production of blades from March through July because they weren't "lucky" months. The overall distribution of nengo on blades does show spikes in February and August and I'd suspect it was more to do with lucky numbers and superstition than when the blade was actually quenched. You'll rarely see a blade with the 4th month on the nengo written 四 because of its connection with the word for death. You will see 二二 instead in many cases.

Today I found another example of a 'hanaire', still attached to a kinchaku purse. Thanks to this thread I recognized it as such (Jean!) and we can clearly see which himotoshi hole(s) was/were used for the himo cord. The other holes look decorative... except that on the back this one has a tiny slot as if to hang on a peg or a nail. Bamboo (stag antler) Hana-ire hanging wall vase container. Behind

Not only that but blades owned by more prosperous samurai often had multiple koshirae at the same time (e.g. one for ceremonial duties, one for casual use, one for battlefield use). Check out this Hokke sword that just sold on the forum: https://www.militaria.co.za/nmb/topic/53726-nbthk-tokubetsu-hozon-hokke-katana-w-2-koshirae/

A good first blade indeed. Regardless of when it was made, koto Soshu in good condition is a very nice place to start. Putting in the effort of looking at blades in person has worked out quite well for you. I believe this is your sword: http://www.nihonto.us/SOSHU mASAHIRO KR.htm

I made a purchase! I made a 3.5 hr drive and viewed multiple swords in hand at a member of this forum's home. I ended up purchasing a 26 inch Daito papered by the NTHK-NPO in 2019 to 7th generation Masahiro 1573-1590. But the blade has the potential to be much older. According to Soshu Den Museum records. Masahiro did not sign as such after 1553. When he took the name, Tsunahiro. The form, length, and grain patterns and activity do not really match later Soshu works, but earlier. The nijimei signature is, as well, non existent in Tensho Masahiro swords. It has a partially polished out Buddhist prayer horimono. A previous owner (whom sold this blade on this forum 5 years ago). Thought the horimono might have been engraved in late muromachi period. I am under the impression that the NTHK-NPO may have classified it as a 7th gen. Potentially due to having lack of reference for anything older. And chose a "safe" designation. I checked Soshu Museum's records. The mei, as well as the forging patterns they desrcribe. Do line this sword up better with 2nd generation Masahiro (1393-early 1400s). Or something made in the 1400s. I would think the Japanese NBTHK would have a far better reference collection to nail down the date better. But also, I not doubting the NTHK's expertise. Just curious why a Masahiro blade would get made in such an old style, with a Mei that hasn't been used for generations, in Tensho? Maybe special ordered that way? There are a few ware up front. Which would knock it down a peg or two. Some signs of use. And it has a few smudges that may polish out. But overall, I am very happy with it. Late 1500s or late 1300s. It's is a very nice work. And a great first blade *i may add some more photos if interested.

That Yosozaemon was absolutely insane. I have 2 nice ones I can show from Bizen, Sengoku era. 1. Gorozaemon no Jo Kiyomitsu 1537 2. Bishu Osafune Sukesada 1567

Budget netsuke is one of my favorite netsuke topics (mostly out of necessity... With some luck and patience you can buy genuine antique netsuke even for less than 200 euro, but you need to know what you are doing to distinguish them from the 99.9% of fakes you will find in that price range. These for example I paid around 100 euro each (two on eBay, one in a flea market and one in a local auction): This one was 70 euro in a flea market: This one I paid around 100 euro at auction but it has some obvious damage:

If memory serves me right these were purposefully cut at that angle to allow a slight tension to avoid falling out. It would also allow easier removal as the handles sit further away from the Fuchi. You will find this detail on many good quality Koshirae with Kozuka.

more soon......

Yes, there was a Koshosen Nagaharu Kinko around Bunkyū, who was Shuei of Kyoto Gosho.

Congratulations on getting a nice sword. In the book Osafune Chōshi, history of Osafune smiths there is actual data on 1,040 dated Osafune swords from 1232 to 1595. While 2nd and 8th month have always had the auspicious aura, there is actually big shift when Ōei ended in 1428. After Ōei Osafune smiths pretty much dated only to to 2nd or 8th month. In the 4th bracket of the table that is late Muromachi period from 1504 to 1595, there are 323 dated swords. From all of those 174 swords (54%) are dated to 8th month and 140 swords (43,3%) are dated to 2nd month. So there are only 9 swords that are dated to other months. Now for comparison during Nanbokuchō period 1334 to 1393, 19,2% of swords were dated to 8th month and 15,6% were dated to 2nd month.

Congratulations on getting a very nice looking sword. I do like the horimono a lot, even though it is worn down. I do have huge respect for NBTHK and NTHK shinsa, however there are always limitations in play when they are processing hundreds of swords at fast pace in a shinsa session. I think most important thing is that they would see this as late Muromachi Sōshū Masahiro. Japanese way of giving extremely specific attributions is something I don't personally like all that much. They most likely cannot spend hours on researching a single normal sword so they shoot out a reasonable attribution they can agree on. Granted late Muromachi Sōshū is out of my comfort zone and I don't track them in my books, however I don't think I can easily find a reference sword by this smith from the huge amount of references I have at home, that is how rare this smith is. This is pretty obscure smith and very specific attribution, my guess would be that NBTHK would give out a lot more broad and general attribution. I think this entry from Nihontō Meikan is the only info I can dig up about this particular smith.

My Tomita Sukehiro is a sword with a flamboyant hamon. It has some scratches and would benefit from a polish. However there is a lot to be enjoyed without. Date: koki ni sen roppyaku ni nen gatsu (1942) Nagasa: 68,58 cm Sori: 1,27 cm Sukehiro was trained by his grandfather Kato Sanekuni and worked as a Rikugun Jumei Tosho during WW2. He was rated 1 million yen. This sword is in need of a New home. It is priced at €2100,-

Yes, a lot. Don't rely on google. Not sure why you posted those photos with the google translation, as they do not mention any generation. Hawleys lists an 8th generation c. 1577 (MAS 208). Your papers attribute this sword to Tensho (1573-1592).

Just a heads up for anyone who's in Japan over the next few weeks that the New Juyo exhibition is running until the 1st of March in the Tokyo Sword Museum. 36 blades from the most recent Juyo shinsa and several koshirae and tosogu are on display. You can see the details as well as download an English list of exhibits here: https://www.touken.or.jp/museum/exhibition/exhibition.html And here is a link to @Jussi Ekholm's translation of the full results from the 71st Juyo Session: https://www.militaria.co.za/nmb/topic/54363-jūyō-71-results

@Leen for more about Sukehiro and examples see the following paper in NMB Downloads:

Interesting to see that rasp tool just for doing that. I'll be sure to give the saya a really good look, especially on the inside to ensure it's clean. If it's not a great fit, that just gives me an excuse to have one commissioned in the Tensho-era style of the day for a typical rank and file samurai. Very plain, wrapped in cloth then laquered over, etc. but at least it would be a perfect fit for the blade and restore some historical accuracy to the koshirae in a modest sense until I could do the rest of the mounting the same.

@anguilla1980 Adding koshirae to a blade by dealers isnt really malpractice nor is Aoi bad for doing this. It s simply part of the general nihonto market. It s not that difficult to find a saya that fits if you match the sori. But you dont know how well it s been maintained if at all. Even a custom shirasaya can damage the polish with foreign particle build up with poor maintanace When you spend enough time in the hobby looking at blades every chance you get, you ll sometime come across a blade you ve seen appear at a different dealer or being sold by an individual seller and the koshirae can sometimes be added, removed, or a different one all together. Now for the 2 mekugi ana. There is no way to know for sure but the 2nd one was most likely made simply to accomodate a different handle. Could have been a new handle , old handle we ll never know for sure but these things were done all the time. And someone with more specific knowledge could add to this but the ana was punched during koto times and at some point during the edo/shinto period , they were drilled. I cant quite tell but they both look punched on yours with the bottom one being original. So the 2nd one might have been made a long time ago as well. I ve looked at a lot of sue bizen blades and that top ana looks unusually high to be the original.

Google Translate got it wrong, the original papers clearly state 8th gen (八代, hachi-dai). The 5th or 6th gen Masahiro (there are some disagreements; Nihonto Club says 5th gen https://nihontoclub.com/smiths/MAS205 while the Soshu-Den museum says 6th https://nihonto-museum.com/blog/soshu-tsunahiro) was the one who changed his name to Tsunahiro, however the Masahiro line continued for at least another 2 generations parallel to the newly established Tsunahiro line.

Seems logical that the angle would also allow for more clearance of the hitsu to make sure there was no rubbing on the tsuba

All very possible reasons. Does anyone by chance know of anything similar from Naotane to compare to? Maybe it was something he did on other specific blades also? Maybe at the request of the customer? @PNSSHOGUN good question, this one is actually Soshu style, so yeah that would probably rule out Ichimonji @Natichu sure - check below.

Sold- ty!

Spot on Lars and Piers - I managed with callipers to measure further down the barrel, and indeed it is 13mm! Thanks again for your valuable information.

Wow, very nice. I think Bruno looks for a Smith from the Kato group. Sukehiro was the nephew of Kato Masakuni.

I don't know that much about koshirae as I focus on the blades. However to me in this case the sword blade is pretty uninspiring and the fittings are very high quality. I would dare to think that there would be extremely few daishō sets with full Miboku fittings, so I would think they are very precious. Yokoyama Sukesada blades in this case would not be that interesting considering the fittings. The interesting part to me is that it seems they were given to museum in 1936 so they were in the US before WWII. I am not sure who this Howard Mansfield was but he seems to have had a huge collection of extraordinary Japanese Fittings, including another daishō set this time full Konkan fittings, several Natsuo work etc. top tier artists. Just write his name into MET search and enjoy some spectacular sword fittings.

On the right, I guess 幸照撰 – Koshosen?

On the left is Chōshun (Nagaharu) 長春　作

I kinda interpreted the data that dates of swords at this specific period of war, were reflecting practical production and military commissioning cycles rather than symbolic or ritual dating. But it looks like I could be wrong, and they are more symbolic dates with the NBTHK respecting that date as real out of superstition and respect. Certainly, with swords before and after I expect that to be the case, so yeah, the truth may be stretched here as well. As a new guy, I really appreciate the info!

Can anyone translate the mei? Many thanks in advance.

I wouldn't take the dating too seriously. It's more symbolic, meant to bring good luck. Most Sue-Bizen blades were “created” in either the 2nd or 8th month of the year. The number 8 stands for Hachiman, and in Japan, 8 also stands for eternity and infinity.

It’s from Ed Marshall - look on first photos. Legit source. Just before becoming RJT probably

Yes, you correct. I didn't recognize the name of the owner. I thought it was owned by a Chinese Singaporean.

Generally, when buying from a somewhat reputable dealer such as Aoi, they will have at least gone to the trouble of making sure the saya fits the blade by using a long-handled rasp. However it's always worth tapping out the saya to shake loose any debris or shavings before attempting a fitting - even for a koshirae that was custom-made for the blade.

If you can't find one, it may be worth sending yours in for shinsa to the NBTHK. Being a rare example of a signature adds historical (and often financial) value to a sword, especially koto.

PS Just found a great video, with unearthed examples of Korean long guns of this type, with very similar inscriptions.

Excellent idea. These fakes are just a waste of your money? Well, assuming you are going to collect wooden netsuke then you can buy something “basic”, maybe something more “folk art” than “high art” for around $200-400 but beware, there are thousands, probably millions, of fake wooden pieces. The worldwide marketplace is overflowing with them. Just look on eBay! Keep training your eye until you can spot the fake immediately and be patient. Spend a lot of time looking at this link…… https://www.bonhams.com/search/?chronology=past&query=Netsuke

Tough call from that one photograph but the tsuba is a surprise to me, I might have expected something in iron with nunome. Can we see it all please? All the best.

Sorry, still the same conclusion. All fake. Not sure extra images will tell us anything else.

The length of swords has always followed the evolution of combat techniques (tachi versus katana) and the regulations issued by the shoguns. The vast majority of tachi were suriage so that they could be used as katana. Indeed, given the price of these weapons, it was better to shorten them than to make new ones.

Not the best quality piece I have but I do love the Kawari-gata nature of it. https://en.m.wikiped...File:Gion_Mamori.svg Gion Amulet - 「祇園守」 The Gion Mamori is a special amulet sold at the Yasaka Shrine in Gion district in Kyoto. The origin of the Gion Mamori kamon is shrouded in mystery and is still debated: some think that it represents a cryptic map of the woods that used to surround the Yasaka shrine, while others say that it is in fact a hidden Christian cross. There is also a third interpretation linking the amulet to an obscure Gion-shoja temple in India, where the guardian deity Gozu was said to inhabit. Chinese characters for "Gozu" mean "cow" and "head", and therefore some say that the Gion Mamori mon represents the head of a cow. The Gion Mamori mon is a rather rare emblem with about 50 known variations.

Also five element theory ( Gogyou 五行 )

Item No. 277 Iron Tsuba with sahari and gold 8.24 cm x 7.77 cm x 0.45 cm Subject of a basket weave fence in front of Holly branches. Can anyone identify the inlaid characters at 11 o'clock ? This tsuba by Teiei ( Kunitomo / Hazama Group Artists ) dating from late 17th/early 18th cent. In very good condition for a piece 300 year old plus. With inscription by Kanichi Sato ( Kanzan ) on box. NBTHK Tokubetsu Hozon papered.

Here is a shakudo sukashi tsuba, mumei, depicting the "seven sages in bamboo grove" theme. The quality is excellent with highly detailed zogan faces on each scholar. I recall showing this tsuba to John Yumoto many years ago soon after I acquired it. His comment was most likely it was made special for a patron which is why it was of shakudo, unsigned, as it is. A couple years ago I sent the tsuba for NBTHK shinsa. To my surprise it did not get Tokubetsu Hozon, possibly because it wasn't submitted (in error). My question today is about the attribution HIKONE as opposed to SOTEN. Is Hikone, "hinting" that it was made by the master tsuba-ko, opposed to a more general Soten school attribution? Does anyone have any fact-based opinion about this? I do realize that the NBTHK does have set ways about their attributions that can be understood (interpreted) more clearly, learned from experience. Your thought on this would be appreciated, as always. Ron STL

In my records I count 6 mumei tsuba with Hikone attribution and just one reported as Sōten (and 7 more signed Sōten). So, if unsigned, the tsuba usually takes a paper with Hikone written in it.

Wouldn't Hikone be more generalized than Soten? Hikone basically just referring to an area, style of tsuba, whereas Soten would narrow that to a school? They may possibly be interchangeable. I see the terms being used randomly on a Google search. Hikone being part of ancient Ōmi Province and Soten the school therein.