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Hi Greg. Here is a write up that I took from my website: "The vast majority of his works were calligraphy from the Jubokudo lineage of Shodo established by Wang Hsi-chi (Wang Xizhi), a Chinese calligrapher of the 4th century. Yamaoka created a calligraphy manual based on the 154 Chinese characters of a poem – “The Eight Immortals of the Wine Cup” – by the Tang Dynasty poet Du Fu (712 – 770 A.D.) that is still practiced by the Chosei Zen Rhode Island Zen Dojo in the US." Part of the difficulty with translating Yamaoka's brushwork is that it is highly idiosyncratic, although extraordinarily consistent. He also mixed kanji with katakana in many of his works. Although his "calligraphy manual" is useful, it is only 154 characters long. It is often said that to read a Chinese newspaper requires fluency in at least 2,000 characters. And if we suspect that the work on the panels that I posted is taken from ancient Chinese poetry, we are now talking about this language in the hands of (e.g.) Tang dynasty poets! The only person I know of who was truly an expert translator of Yamaoka is John Stevens. I still mourn his recent passing. No longer can I reach out to him for help with translation. However, I continue to work on these panels whenever I see something familiar such as the kanji for "wind" as the second character in the last column. It gives me a cross reference. Interestingly, the Chosei Zen shodo practice uses the Yamaoka manual as a template for learning calligraphy as part of and to enhance zen practice. Breathing and form are very important in shodo, as they are in zazen and budo. I originally came into contact with Chosei Zen while seeking assistance with a Yamaoka work. No one there can read a complex Yamaoka work. In fact, I'm more familiar with Yamaoka's usage and range. As it turns out, they practice shodo without needing to know the meaning of the calligraphy--even purposely ignoring the meaning of the kanji in the process of focusing on the act of creating a beautiful brushwork that reflects the state of their minds in samadhi. So, I disagree with your statement that "calligraphy without translation is mere decoration, devoid of meaning." One of the remarkable qualities of a work by Yamaoka (or Otagaki Rengetsu for that matter) is that it is readily apparent that they were the work of a martial artist. His execution of characters on this particular panel is a perfect example. The columns and character spacing are perfectly aligned, one character flowing into the next without a break. The hand is sure, fast, and perfectly controlled as if he were engaged in a sword duel. His calligraphy has been analyzed under microscopic examination to reveal the absolute confidence in which the ink has been laid down on paper. Like a fortress, there is no way to attack or penetrate these lines from the outside. The panels are over 6 feet tall and stretch out to nearly 12 feet. When you stand in front of them, it is simply overwhelming. It feels like it a face-to-face encounter with Yamaoka's life force. Of course I would love to know the meaning of the poems on these panels. They will lead to other levels of meaning. Merely decoration? I don't experience them that way. One last thought. Here are two examples of the same Hanshan poem, brushed by Rinzai Zen master Gako (Tengen Chiben) and the Obaku Zen master Baisao. Their calligraphy reflects totally different pictorial styles separated by about a century and with different intentions--both admirable. Same poem/meaning. 吾心似秋月 (Wú xīn sì qiū yuè) - My mind is like the autumn moon, 碧潭清皎潔 (Bì tán qīng jiǎo jié) - clear and bright in a pool of jade, 無物堪比倫 (Wú wù kān bǐ lún) - nothing can compare, 教我如何説 (Jiào wǒ rú hé shuō) - what more can I say

Good evening everyone I hope everyone had an amazing christmas and got safely into the new year. Since my last post in october of last year, I was sort off burnt out on the topic of Nihonto. Probably trying to learn everything at once over the past year was not the right choice, like it is with university exams. Now, since a good 2 month break I finally have motiavation to dive back in. Over the past few days I reread all of the comments below my last post about photographing Nihonto as well as Darcy´s guide to find out what the most key points to improve are. But as last time, the results this time are far from perfect, although a good bit better than last time in my eyes. Setup For the setup I tried to copy Darcy´s guide as much as possible, using a glass floor from a shelf as the display base, with a warm white LED bar as the light source laying on it to provide equal lighting over the full lenght of the blade. Also, I covered the floor below it with near black (a very dark blue) cloth and had the glass panel a bit above it to create a sort of clean blackground. This enabled me to move the sword across rather than moving the camera. Speaking of the camera, it is still a Sony A6400, although this time fitted with a cheap makro lens I picked up not too long ago, namely the Peargear 60mm f2.8 MK2. I have been using it for nature photography over the last week and for the low price I am quite happy with this lens. I also got myself a tripod, giving me more freedom and flexibility in positioning the camera; especially compared to the music stand I had it strapped to last time. The Nihonto is still my Tensho era Wakizashi attributed to Noshu den Kanesaki. It is unsigned and not a masterpiece by any means, but it is fun to experiment and study with. This time, I mainly focused on the flaws of this blade. I was aware of all of those as I was informed by the seller during my visit at their shop as well as in our email converstations prior to the appointment, so there weren´t any bad surprises (fortunately). It is mainly a bunch of inactive rust and lots of little scratches. Although, there is what I think is a big scratch along the hamon on one side, please let me know if it is something else. Also, while reviewing the pictures in Lightroom, I noticed those little blue streaks, which I have never seen before, but I think they are longitudinal chromatic aberrations and not a flaw in the blade. I will try to fix those in the future. I will leave pictures of the flaws (and some features ) of the blade down below. If you have tips on what to further improve, I am looking forward to any kind of feedback :D Best Regards Erik

Bruce, you probably meant to write URUSHI ? It is close, but not the same!

Daniel, The smith is Yoshifusa and the sword is dated March 1945. As Bruce suggested, the blade would originally have been in the fittings pictured above.

here is a better view of both sides

No, you are correct, Lars.

As amazing as they can be to look at, I'm not really a huge Soten fan precisely for this reason! They're like sensory overload haha

Bit unusual to revive a thread after more than a year (almost 2!) but, I like this tsuba Dan. For the price, it seems like a great pickup...

Nick if you just want to buy one or two genuine 94's or 98's but are not interested in progressing the whole nihonto thing, thats ok but I encourage you to use the resources available on NMB by posting good pics/description of what u are looking at and I'm sure you will get useful feedback and hopefully avoid some grief. We all like looking at swords and, believe or not, many of us like to offer opinions Rob

Here is one for you, John. Comes from Leo Monson’s collection.

Glad to see you back on here @John C. Here's another one for your records - Serial number 4604. There is no serial number on the scabbard.

@BANGBANGSAN @Conway S Apologies for the late replies. Thank you both very much. Here is the latest serial number tally. I believe this may represent the most published serial numbers for the Meiji 1892 (38 as 5-12-25). 325, 487, 575, 1539, 1996, 2379, 2522, 2930, 3397, 3587, 4077, 4429, 5578, 5988, 6251, 6784, 8170, 8572, 8782, 9090, 9536, 9777, 10123, 10781, 11393, 11448, 11871, 13121, 13197, 14013, 14323, 14408, 15383, 15773, 16019, 16065, 16416, Unk serial number sold on Worthpoint. John C.

There's one for sale on eBay right now for what seems to be a decent price. From the pictures though, it looks like the latch may be a little loose or bent. Type 25 Japanese N.C.O. cavalry Sword, #2930 Tokyo art. arsenal stamp

John, Here is the one I currently have. I don't keep any records of serial numbers, but I would say what makes them difficult to research online is that many people don't know these are a distinct model so some examples get labeled online as just NCO, cavalry, or Type 32s. I also think you should ask Brian to repost this thread in the military section for better visibility. Conway

He joined in 2013