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About “advancement of knowledge” in the field: People like Mitsuru Ito and Eckhard Kremers who have published books on specific collections of tsuba from particular smiths in a more analytical manner rather than just producing a picture book of accumulated tsuba from a particular school with no real analysis included. Markus Sesko of course needs to be mentioned because of his relentless efforts in translating Japanese texts, and the many years of him posting his blogs that frequently revolved around comparative analysis of small groups of similarly themed tsuba, sometimes by the same smith, and sometimes by different smiths. I always learned something whenever I read his posts. And then there's Steve Waszak with his years of dedication to Yamakichibei and Hoan tsuba... with a definitive book on the subject sure to come sometime in the future, which I hope to play some part in as I have also been diving deep into Yamakichibei, and separating out types of acid etched tsuba that often get mislabeled as Hoan. I have also been diving deep into all things “Owari-related”, trying to sort out the mess that is Kanayama, Ohno, Owari, and Ko-Akasaka (since they clearly had Owari roots), and trying to associate these with approximate time periods, trying to tie it all to cultural and artistic trends at various points in time. I apologize if I have left out any other publishers and bloggers from the list (like the “Zenzai blog” by Keisuke Nakamura, now that I think about it… he does this too, and I’m a big fan of what he puts together) Then there’s also some thoughtful insights and sharing of information on sites like this of course! At least this forum allows for the potential for some kind of proper, positive discussion. And just as an example, I realized I had two tsuba of clear Owari lineage, but that were also obviously divergent from the typical Owari tsuba. In comparing them, I realized they were made by the same smith who has yet to be described or named in some way. After posting the pair and pointing it out online, it tuned out that Eckhard Kremers had realized the same thing about this smith when looking at specific tsuba published by Sasano. Then he and I spurred each other on to do a deep dive into other publications and accumulated image banks, and we found a bunch more by the same smith. He has produced some extraordinary, unique designs that show a lot more "movement" compared to other Owari tsuba. His tsuba have gotten a variety of attributions from different sources, but as soon as you line them up, they are clearly all done by one smith. It's the "gut feeling" mislabeling under the current system that I think (hope?) can and should be course corrected over time, by doing comparative analysis in exactly this way…. I have also identified several other groupings of tsuba that I think point to the work of individuals smiths, rather than a broad label like "Owari" or one of the other Owari-linked groupings I mentioned above. Owari was after all, a significantly large geographic area with so many smiths with different styles over the course of the 1500s and 1600s. Anyway, It’s doable, but more people need to have these thoughts in mind when they are looking at examples and gathering up images of tsuba that allow for comparison (hopefully including some oblique and side views, and not just straight on black and white images!) Blah blah blah… when will this guy shut up… sheesh? I apologize for blathering, I will stop now Oh and no, I am not just presuming to throw my name in with all those that I mentioned above, out of some sort of inflated self-worth. But I'm putting in the effort to gather evidence, and trying to make sense of it all with an open mind and a critical view... which is what I share in common with all those I mentioned above. I hope to put together some kind of publication one day, but for now, I'm still gathering information and examples, and enjoying the obsession.

（ I asked because it is a bit long.） Right（meaning) 「The Kagura of our shrine has been performed since ancient times, 　and it is even mentioned in an old poetry anthology, 拾遺和歌集the Shūi Wakashū. The waka poem composed by藤原忠房 Fujiwara noTadafusa when 宇多上皇Emperor Uda (during his time as a retired emperor)visited Kasuga Taisha in Nara.　（In 920. 延喜engi20年）」 Left（Only the first half of the waka poem is written.） （meaning) 「Today, Yaotome (shrine maidens who perform Kagura) at Kasuga Taisha are so wonderfully rare and beautiful that even the gods themselves cannot help but rejoice and praise them.」 「めつらしき けふの春日の やをとめを かみもうれしと しのはさらめや」 　me tu ra si ki ke fu no ka su ga no ya wo to me wo ka mi mo u re shi to shi no ha sa ra me ya 　（珍しき　　 今日の春日の　　 八乙女を　　　 神も嬉しと　　　 忍ばざらめや ） （mezurasiki kyou no kasuga no yawotome wo 　 kami mo ureshi to sinoba zarameya）　 The photo shows the text up to “yawotome wo.” （Emperor Uda is famous for having written in his diary that “my black cat is so cute.”） Hiro

Mauro, First, let me say how sorry I am this has happened to you. As someone who has been tracking this issue for several years—and who has personally been impacted by these thefts—I can tell you that it is extremely difficult to get meaningful help once something goes missing. Despite what some people may suggest, local law enforcement and the FBI are not going to help in a situation like this. In practice, the only agency with jurisdiction is the U.S. Postal Inspection Service. However, unless a case involves theft from an actual mailbox or an assault on a carrier, these types of losses receive limited attention. The presence of insurance seems to shape their response, and if you don’t have it, they don;t care. It’s also important to understand that this problem extends well beyond Nihonto collectors. Similar losses are affecting shipments of fine art, antiques, and other high-value items. Based on patterns many of us have observed, issues often arise during handoffs—particularly between USPS, Customs, and third-party contractors responsible for air transport. When tracking shows a package “disappearing” for a period and then reappearing elsewhere, it’s often because that segment of transit is handled outside USPS systems and isn’t fully trackable. There are also troubling reports of packages being diverted after labels are removed or compromised. In theory, such items should be routed to recovery centers for identification and return. In practice, if no information about their final destination can be found, the package is categorized as “unrecoverable” and eventually sold through government auction channels. This is supposed to happen only after 90 days, but we have seen packages with swords (including a Sue-Sa/Sa Yasuyoshi wakizashi stolen en route to me a few years ago) end up in the hands of someone who purchased it at a government auction less than 30 days after it went missing. I’m afraid your best bet now is to make lots of noise with your representative in Congress and demand that they deal with USPIS. At the same time, you should carefully monitor government auction sites, as well as Reddit and other lesser-known sword forums, where people who have “legally” acquired these items sometimes seek advice on pricing their ill-gotten treasures. I’m sorry that you—and others—have to go through this. But the truth is we can no longer ship these goods around the world without using AirTags or similar devices to track them throughout their journey. I have long said that Japanese and American dealers need to raise these issues in Washington, but to my knowledge, nothing has come of it. It has gotten to the point where I no longer ship items to or buy from Japan because of the combination of shipping risks, tariffs, escalating transit costs, and unreliable customs brokers. It’s simply too much stress. But if we can’t stop this trend, the long-term impact on the hobby will not be good. So by all means, let your local post office know you’re upset—but direct your real pressure toward your member of Congress. Going forward, if you want to continue operating in this space, your best options are proactive: Put at least one tracker in every package, and ask that shippers you rely on do the same, even if it costs extra Document everything carefully before shipping Build relationships with your representative’s district and DC offices, just in case Sorry this isn’t better news. On the positive side, I was able to recover one of my items by using the insurance payout to buy it back from the person who had acquired it. Hopefully this lovely daito will appear before you have to do the same. Good luck.

And in a more concentrated form on a ‘funa-dansu’ ship’s safe, designed with a heavy front so that it would float door-down (relatively watertight) should the sailing ship sink. These were expensive (for me on my salary) about 20 years ago but they’re a tenth of the price nowadays. I had a set of keys made for it, and one day about 10 years ago I found an old drum lock that fitted it perfectly.

Here we have an outstanding example of how many years of excessive wiping can lead to a rather dull looking blade... This is the Kikko Sadamune - Sadamune's most brilliant work photographed in 1948. You would not tell this is his most beautiful sword. And here we have a photo in 1967 after it has been beautifully polished - boy does a polish make a difference - it is like a completely difference sword. Bright and clear. Not dull and boring. The Kikko Sadamune is the Sadamune sword that is most praised for it's beauty. Ironically, this is a very a-typical Sadamune sword as it moves away from his more typical Mokume-hada and adopts Gō Yoshihiro's "modern style". Like a typical Gō blade it has a shinogi-zukuri, iori-mune and well forged itame grain with, with thick ji-nie and well-defined ji-kei (patterns in the ji). The hamon (temper line) is a shallow large notare mixed with small gunome (irregular wave-like patterns), with small ashi (short lines extending from the base), generally well-defined nie with occasional coarse nie, frequent kinsuji (golden lines), and sunagashi (sand-like patterns). I hesitate to say this but if the Kikko Sadamune was not Meibutso and papered by Hon'Ami in the past as a Sadamune - if it appeared on the market today as a mumei blade I suspect it would be designated a Tokubetsu Juyo by Gō as it has almost all of the trademarks. Regardless, it is an exquisite blade and shows the power of a polish.

Seems a wallhanger to me but I am no expert.

Odachi are indeed a fascinating subject. I was just doing my daily trawl of all things interesting when unexpectedly this Facebook reel popped into my orbit: https://www.facebook.com/reel/1526780725833444 @Jussi Ekholm may have a thing or two to say about this practitioner of the art of drawing an Odachi?? Regards, BaZZa.

Looks fake from these images. Show image of nakago without tsuka and habaki.

Good pictures too!

About “mass production” and crossover between schools: I'm going to start most recent and head back in time... From my personal research over the years, true mass production of the generic rote kind, really seems to have kicked into gear around 1700, mid-Edo period. There were lots of sociological, economic and technological shifts around that time that facilitated that. More rampant crossover between schools and smiths seems to have kicked in around the mid-1600s (after the establishment of Edo as a new capital city and the "sankin-kotai" which was the forced pilgrimage and residency of daimyo and their entourage of 100s-1000s of attendants including craftsman, every other year. That all started in 1635 but was expanded to include more daimyo as of 1642. So that's when many craftsmen from different schools were all in the same place at the same time, for extended periods of time and sharing ideas and techniques with one another. From my personal comparative analysis of tsuba from the same maker (of known smiths, with a known mei), from the Momoyama to early Edo period, there seems to have been more of an "exploration of a theme" in the creation of multiple variations by one smith, but they did not seem to make rote copies of any specific design (maybe some did once in a while, but I don’t have any examples of that yet). Successors in a school lineage do revisit certain themes from their predecessor/s but they seem to put their own little twist on the design, perhaps to distinguish their work from others and put their personal "stamp" on it.

About these specific tsuba: I posted these three tsuba in particular in the hopes of gleaning some input from some other eyes besides mine and the papers and/ore attributions they have (which I generally do not trust, especially when “alarm bells” start going off in my head when I see what they are labeled as). I didn’t post these thinking I know the answer, not at all. This was “crowdsourcing” with the hopes of generating discussion. These are not common tsuba at all… sure there are plenty of cloud and geese tsuba out there, but this is a pretty specific variation on the overall theme. At first these tsuba all jumped out at me as being Higo tsuba because of the hitsu-ana shape, which is quite particular to them and is often a key point to identifying one of their tsuba. I was taken aback with the ko-Akasaka papers on the second one, but there is a distinct shift in the size of the hitsu-ana and the fineness of the chiseled karigane, and the relative proportions of the sukashi thicknesses… so I could see it as being something other than Higo. Until this point, I was unaware of Akasaka smiths doing Higo style hitsu-ana, I thought they typically stuck to their own shapes. Higo did have a strong influence on Akasaka afterall… something I sometimes see some people viewing the other way around… but I have always viewed it as Higo being the influence on Akasaka. I’d like to dig into the tegane-ato around the nakago-ana to see if I can dig up some similarities with other Akasaka smiths and Higo smiths… more evidence to gather to help build a more specific case for each or maybe keep the door open... time will tell.

As a disclaimer I must say I am not a martial artist even though I dabbled few years in Japanese sword arts when I was teenager. As a ōdachi fan I will vouch many of them were indeed used in battles. So far I have seen 30 historical ōdachi in various places in Japan and I am hoping to still see many more in the future. There are however some limitations by size and by age that are my own personal feelings, I will expand more on them later on the post. Most of the ōdachi I have seen are preserved in various shrines in Japan and photography in shrine treasure rooms is forbidden. So I don't have pictures taken at the shrines apart from few where the museum staff wanted me to take a picture of the item. However in books I do have lots and lots of pictures and information. I don't know my martial arts history that well but I know in Japan there are some arts that are seen as koryū (古流) and they have strong historical standing. I believe the martial art shown in above video is Enshin-ryū (円心流), which is to my understanding classified as koryū, old historical martial art. To my limited understanding the meaning and specifics of kata in koryū is not really given outside the school. So even if you see that ōdachi is drawn from the hip in videos it could possibly be just a form of training. I believe I have seen other videos of this same person using the same sword over the years. I believe it is ōdachi with a blade length of 三尺六寸 3 shaku 6 sun which in centimeters is 109 cm. He does have impressive drawing and sheating technique and I believe he would be very seasoned martial artist. This brings me to the koshirae and how they were worn. I have recorded currently 151 ōdachi in Japan. Extremely few of them are in katana koshirae, as wearing them thrusted through the belt was not really that good option in my personal opinion, and as they were intended for battlefield use I don't see wearing them thrusted through the belt, they were already out when going to live battle or in many cases high ranking samurai had sword bearers who carried the ōdachi and allowed their master to draw it. There are however few very large Edo period swords that I classify as an ōdachi that are in katana koshirae, I can remember few from memory. - Itsukushima Jinja has 99,8 cm blade dated 1867, it was commissioned by a sumo wrestler at that time. (I have seen this sword at the shrine) - Matsubara Hachimangu had 101,3 cm blade (if I understand correctly it is dated 1644 and dedicated to the shrine when made). - Unfortunately there is only small picture but I believe the Takaoka Jinja sword 106,1 cm and 1641 dated blade that was in previous Okayama Branch restoration project might have katana koshirae, the pic I have seen is very small. However mostly the old historical ōdachi had various types of ōdachi koshirae. Many of the Edo period ōdachi that still have koshirae have an ōdachi koshirae too. Also the dating on the blades for Edo period can show how it will fit historically into timeline of Japan, as battles ceased after the early 1600's. I watched some Japanese youtube videos and in one of them it was mentioned that actually commissioning an ōdachi cost several times the normal amount of money, which is easy to understand, as the project of making a giant sword is lot more complicated than a normal sized one. This usually would mean that the person commissioning the sword must be wealthy and/or possibly a high ranking samurai. Finally comes the size of the ōdachi. These are just my personal opinions after seeing many of them live at shrines and lots and lots in books. Of course unfortunately currently handling experience is limited to modern swords. I am talking about blade lengths here, I see the length range of 3 to 4 shaku (90-120 cm) as perfectly reasonable range, there shouldn't be any issues with these. blade lengths of 4 to 5 shaku (120-150 cm) is where I see the upper end of actually usable ōdachi. When you go to blade lengths of over 5 shaku (150+ cm) I just don't see them all that reasonable for usability. As you have to calculate the tsuka in, these weapons are over 200 cm in total length and the majority of it is in blade. For usability I would rather exchange some of that blade length to handle/shaft length, arriving towards large bladed nagamaki and naginata. I think the longest ōdachi that I know has historical record of it being used in battle is the gigantic Tarōtachi (太郎太刀) of Atsuta Jingū it has blade length of 221,5 cm. There is a historical legend and provenance to back that up and there is a story for it. In my understanding the short version would be that two relatives wielding two giant ōdachi Tarōtachi and Jirōtachi, were stalling the enemy troops while wielding these on horseback. The enemy finally killed both of them but they gave time for others to get to safety. I believe they were dedicated to Atsuta Jingū in 1576. Atsuta Jingū has three ōdachi in similar koshirae Tarōtachi, Jirōtachi and Kanetake ōdachi made in 1620. As there is historical story and provenance I cannot discard the fact that the giant sword could indeed have been used in battle. In my brain I just can't figure out what would be the benefit in having these extremely long blades compared to very long blade with slightly longer handle. The post came quite a bit longer than I originally intended and had to do some fact checking as I hate making errors.

I can appreciate it, looks like something perfectly fit for a fish market, taking down tuna and other large fish.

Personally, I think shortening a broken blade to allow its continued use as a weapon is both warranted and necessary. Aesthetically, I like the shape for its new intended purpose - slashing or stabbing. Within the context of battle, needs must. John C.

Hello, nice to meet you.　This is a beautiful waka poem, so I would like to share its contents with everyone. May I write about it? Hiro

Hi Christopher, Depending on where you are located in Illinois, if you care to make the trip, the Indiana Token Kai meets the third Saturday of most months at the public library in Martinsville IN. Feel free to bring your sword; we will be happy to examine it and offer opinions and advice. We meet at 10:00 AM EST - but will be in Chicago this month

I'm more leaning towards a display mogito, mainly from the low quality of the tsuba carving.

Bruno, the one on the right is upside down. Looks like a (haiku?) poem on the left.

It kind of has the same spirit as this old box, the one with which I started this thread…

suriage katana - cut down in length. Probably late koto/muromachi - roughly 1500-1600. Needs a polish ($$$$), but not in bad shape.

https://www.sho-shin.com/sag5.html Late Kamakura to Nanbokucho period.

These long Õdachi blades were actually used, according to a knowledgeable friend with whom I was chatting the other day. They had a very long Tsuka too.

My observation is that you are not wearing socks. Otherwise we can see your apartment, but no photos of the blade or the NAKAGO (= tang) of it. It could be a civilian sword, not a military one, but that can only be determined with better photos. More comment is difficult at this time. When making new photos, please use a plain dark background, a dark room and spotlights. There is a bamboo peg up in the handle which could be pushed out from the smaller side. Then the blade will come loose. Please DO NOT TOUCH THE BLADE WITH YOUR BARE FINGERS as the high-carbon steel can corrode easily! The blade might also be sharp, so be very careful! Use a clean cotton rag if the blade has to be held. In case you are not used to handling genuine Japanese swords, please ask all questions you might have.

Most attributions are based on a gut feeling... most papers are not judged by jury but by a single member, then the paper gets signed off at the end. Most of these judgements seem to be done in minutes, without any sort of diligence or consultation to databases of any kind (which is why the NBTHK frequently contradicts itself when the same tsuba gets re-submitted for shinsa) Proofs?! There are hardly any at all for anything that is unsigned from the pre-Edo and early Edo periods. Old books, and papers are just a loose guideline... and because of the author's own lack of certainty, they deliver plenty of opportunity to muddy the waters for current collectors who want to "know what they have". Some of these attributions have done more harm than good over time. It's exactly what @FlorianB proceeded to do, that we need more of... That's precisely the the type of thing we all need to be doing (and posting ) if "we" as a collective hope to get to something "better" than the vapid system we have now. ...or we can just keep flouting the papers people buy rather than the tsuba themselves. Not that I'm saying you are doing that Florian, but there are a ton of people who do... it is a money making machine after all, if you are lucky enough to get the "more valuable" school attribution in the lottery that is the current papering system).

By all means try. But I was outright refused as I could not clearly demonstrate whether the swords were stolen from the USPS facility in Jamaica, Queens, which is Federal property, or at JFK, which is not, or en route into or out of the facilities. Given the jurisdictional issues, I was told repeatedly that the report had to be made to USPIS which could then be shared with the NYPD. Never happened as I could never get a report out of the postal inspectors. And when one case was finally resolved, a report was presented to my member of Congress, but USPIS claimed that the sword was legally auctioned though it clearly happened less than 30 days after the package arrived at JFK and was reported missing, not the 90 days the law requires before it becomes USPS property. Like I said, this advice comes from hard won experience in chasing two lots swords stolen from me and a friend, and then taking on four other cases for some major players on both coasts and in the Midwest. Obviously your mileage may vary but local LEO tend not to take reports of theft from federal facilities for obvious reasons. You would think that this would concern the Post Office and America’s first police force. Unfortunately, that was not my experience.

I have several blades in my collection that have been polished in the Takeya Sashikomi shiage style (traditional Sashikomi). I assure you that the reflection of the martensitic structures is unmatched.

For my eyes, the strong HADORI is concealing the features in the photo, but it may be different in-hand.

Unfortunately this is complicated by having many modern sources (mostly non-Japanese) of inferior uchiko; instead of powdered deer horn or burnt rice husks or whatever, most of it is both too hard and either too fine (builds up in openings or horimono and then gets inadvertently dragged out in clumps, causing those big gouges you see in the Norishige), or too coarse (creates a grid of hairline scratches that eventually obscures hada and activity, especially when viewing with an angled light source). Uchiko as the default was, if not ideal, at least workable when it was always produced by togishi and curated by dealers; now, if you're not buying from a reputable shop in Japan, you're probably going to get some mystery powder that might just leave your TokuJu blade looking like you took a buffing wheel to it.

Piers, I have attached a couple more pics of it's hamon. I took them in bright sunlight just for fun. Incidentally the sword is not touching the floor tiles. The sword really has become a favorite of mine, every aspect of it is so well balanced.

Described as geese (karigane). Regards Luca

My first guess would be 国助 Kunisuke.

While going through some dealers, I came across a blade. Of course this will come down to personal preference. Is it just too awkward to look at or do you appreciate the method to ‘save’ a damaged blade? This just happens to be a blade from one of my favorite schools so I am torn on my feelings about it.

Looks a bit too much like a kitchen knife for my taste.

Thanks guys! That is the earliest "stamp" I have recorded, then. Doubt it was a single stamp, but you know what I mean.

Hi Christopher, Bring your sword to the Chicago show later this month. I and others also will be glad to look at it and tell you what we can. Grey https://www.Chicagoswordshow.com

I've also noticed there are a lot of variation to the stitch patterns on the chape area. John C.

I sold this today for $350 to a local collector. Not saying that is it's worth or anything. We were both happy for our own reasons. Just thought to update on what happened because I appreciate all those who took the time to help me sort this thing out here. Thank you all! 💕

Both are fine polishes, it's always difficult to say whether one is better than the other from photos. The second polish is perhaps better for a museum situation, whereas the original polish style can be enjoyed more in hand.

Second that it does look like late Muromachi Kongobye.

I think my first guess would be Yoshifusa (能房) from Kongōbyōe (金剛兵) school. Could you perhaps take clearer picture of the signature? Of course it might be very difficult as it is bit worn down.

While you are absolutely correct on the dangers of uchiko overuse, I do think a couple of other factors played a part here. For starters, improvements in technology and technique in photography - take a look at how much more well-defined and sharp the nakago (which was not re-polished) looks in the second picture, as well as how much more visibility the steel texture has. In addition, the polishing style appears to have changed; the original appears to have been interpreted by the polisher as a slightly undulating suguha-based hamon, while the new polisher has interpreted it as a somewhat dynamic but shallow notare.

Sorry, to be a pain in the neck, but there was no reaction on my request for explanation of the ID-challenge-outcome, so at least I tried to write one by myself (concerning the initial three Tsuba based on the given attribution): „These three Tsuba with similar motif were made probably early Edo or Genroku/middle Edo period when the design came into fashion and was copied and varied by different schools/artists. The first seems to be the oldest because of it's surface, it is not as perfect as the others and the outer rim is plain while later variations show a kiku-gata. The rim itself seems in comparison a little bit meaty. The elements are still inside the rim, the upper parts of the slim daki-myoga fit into the inner bends. I presume the spikes in the bars left and right cite the wings of the birds what got lost on the others. The extraordinary form of the hitsu-ana looks like what we find in the Higo schools. So early Hayashi seems to be a good choice as inventor (?) of this design. The second one show more contrast in the width of the bars, the birds for example are very thin. That leads to Akasaka (probably 4th or a later generation with Higo-influence) which design often display distinct differences in thickness. The somewhat rustic appearance with imperfection in the elements and the different sizes of the hitsu-ana support this. The typical shape of birds with wings tending to be circles resemble Owari and differ somewhat from the roundness of the outer semicircles. The last one seems to be a perfection of the original design with polished plain surface and elaborately worked. The rim is like the first one stout, but sophisticated with slightly exaggerated dents. The birds have similarities to the first one and their shape echoes the curves at the edge. The daki-myoga are well done not just with kebori like the others but slightly niku-bori, too. The upper ends are cleverly integrated in the rim. This is similar on the second one but there the ends curve a little bit uncontrolled into the inside. All in all the third one gives a very harmonious impression known from Higo-Tsuba so Nishigaki seems a good choice.“ Because of the lack of my knowledge I apologize for errors in the argumentation and conclusions (maybe these lines are absolute nonsense at all) but I hope to make clear what was the idea. Certainly there mustn’t be such a rigmarole like mine, but it would be helpful at least simply pointing out important particulars to justify an assignment and to be remembered next time.

On view at Museum Bronbeek from Friday, 17 April 2026: the temporary exhibition on the shin-guntō. The Japanese officer’s sword of the Second World War was both a symbol of centuries-old samurai honor and an instrument of military authority. The exhibition Shin-guntō: Tussen Eer en Terreur (Between Honor and Violence) shows how tradition, ideology, and warfare converged in a single weapon. More than 25 swords are on display, including 10 Yasukuni-tō. https://www.bronbeek.nl/onderwerpen/t/tijdelijke-tentoonstelling

Hi Kevin. Glad to hear you’re enjoying the Moritaka blade! I just heard one of my swords going thru NBTHK shinsa came back as TH Ko-Kongobyoe, so I’m really looking forward to learning more about it.

I was on the highway bus on my way home when reading this and has to wait until I get home to really reply. It is so rare we get discussion about the more rare schools such as Mōgusa. I have felt liking to northern swords for a long time maybe just the reason for it is that I live up north, that might have been the initial connection that clicked for me. I originally planned to see Hōju and Mōgusa swords this year in Japan but as my love for ōdachi is even greater I needed to adjust places I will visit so I can hopefully see several ōdachi I have not seen before during my month in Japan (currently I have seen 30 ōdachi). So perhaps I will try to do northern swords in 2027. Unfortunately there is not a lot of information about Mōgusa or Hōju schools in English. Many years ago, probably over 10 years ago when Paul Martins thejapanesesword site had a forum there was an amazing thread about Mōgusa, I still remember that dearly to this day. Unfortunately I believe all of that info is now gone for good... back then I didn't understand the need to save information as much as I do today. However I do have few Japanese books on Mōgusa, that have information that might be difficult to find. This might be bit controversial opinion but I don't think NBTHK might be the best authority on Mōgusa and Hōju swords... I am very long time NBTHK member but I think there are groups in Japan that know more about these specific swords than NBTHK. There is actually Mōgusa sword research group that publishes their magazine/publication. At one point I intended to start getting them but I am so backlogged with books and magazines I have more than enough to last for my lifetime. I know NBTHK is regarded as "the" high authority and with well earned reputation, there are still other groups with narrow focus that in my mind surpass the NBTHK knowledge in that particular field. Even though it does nothing to sword financially I would rather have the opinion of these people focusing on the specific field. Currently I think I have 11 signed Mōgusa swords in my references. Sometimes it might be difficult to judge if the smith was actually a Mōgusa smith but these are all northern smiths. I will put the swords out in my own order starting from what I presume to be the oldest (of course I might be wrong on some of these). Fusachika (閼寂) tachi - early Kamakura Tomoyasu (友安) tachi - early Kamakura Kunihira (国平) kodachi - early-middle Kamakura Mōgusa (舞草) tachi - middle Kamakura Toshiyasu (世安) tachi - late Kamakura Shigenaga (重長) ken - Nanbokuchō Mitsunaga (光長) tantō - Muromachi Mōgusa (舞草) katana - Muromachi Yukishige (行重) wakizashi - middle Muromachi Tomonaga (友長) katana - late Muromachi Tomonaga (友長) wakizashi - late Muromachi

According to one "Mogusa theory", this Jubi is actually gimei. Pro-Mogusa thinking goes like: a. There should be a common school/progenitor which unites all Yamato offshoots, Hoki, Naminohira, Houju, Bizen Tomonari etc. b. Mogusa is well documented in historical sources and there are records suggesting it was his descendants who came to Bizen etc., but there are no signed blades. c. It is because he did not sign with his name! What did he use? One of the possibilities he used a "title". d. "Northern sword" collectors are weird, they keep most signed ones at TH without submitting higher. e. The earliest generations signed (1070-1170) probably do not exist, the earliest one that exists is likely early-mid Kamakura. They are not dated.

I took for granted the care and handling etiquette lessons taught to me by John Prough and Kodama-san [RIP both], by the NY-NJ-CT group. It is important in how you are perceived when you go to Japan and deal with dealers.

and V@A visit :

Didn’t we already have the whole discussion in 2024? Good to remember the imperfection of the entire classification system but I can’t see any progress in creating a new one. Until then for the most of us it seems the easy way to stick to the existing one. I must admit the mass of crossovers and copies of a certain design are not helpful and – sorry I stubbornly repeat it – pictures alone are not sufficient. Concerning birds and the direction of flight: I believe that in most cases geese are depicted because they have a significance in Japanese culture. We know that geese are leaving Japan in autumn and coming back in spring and thus the motif is used in Haiku as a „kigo“, a word wich indicate the season. I think those birds are flying outwards are leaving, those with flight direction inwards are coming. Another aspect is their regular formation in flight. This could be the reason for the use in a regular pattern especially in the abstract works. In other cases certainly other birds could be assumed according to the motif (i.e. bamboo and snow are connected with sparrows).

Looking for a mate.