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Up for offer is an extremely large (95 x 95mm) and impressive Myochin tsuba. Some tsuba-ko replicate the image of a kabuto, but this one is made in the style of a suji-bachi kabuto, consisting of 25 individual plates of iron, containing 50 rivets. The size and technique give this a dominating presence amongst other tsuba and would be the central point of an iron tsuba collection. An Akita Shoami coiled-dragon tsuba is given for comparison (and not for sale). It also comes in an unusually large deluxe box. SOLD

The blades are radically different — different traditions, different aesthetics, different emotional impact. In some ways, asking whether the Jūyō Iwato Ichimonji or the Jūyō Sa Yoshisada is “better” is like asking which classic Hollywood star was more beautiful. There is no objective answer. The real question is: what are YOU looking for? Do you want the flamboyant, aristocratic elegance and luminous choji of Ichimonji? Or the darker, more intense, more inwardly powerful atmosphere of late-Soshu Sa work? Those are fundamentally different experiences. At the Jūyō level, you are already operating in rare air. Many collectors on this board have never even handled a Jūyō blade, let alone had the opportunity to choose between two. Is this an investment question? A market-value question? A “best bang for the buck” question? A school popularity question? Or is it about which sword actually moves you when you hold it? Because ultimately, that is the only thing that matters. The sword you keep coming back to in your mind — the one that pulls at you a little — is probably your answer. On the matter I will say only this: there appears to me to be no shortage of Ichimonji or Rai school blades out there in the market. If you miss one, another one will come along, both better and worse. The same can't be said for blades directly attributed to Sa School smiths. But, again, it all comes down to what moves YOU. Nobody here can answer that but YOU.

I am not trying to be difficult here but the questions really don't make a lot of sense to me. For example, please define what you mean by "history" of the blade? Are you talking provenance? The history of the period when it was made? How the smiths and schools were seen by history? Given that one sword is attributed to a smith who was the son of one of the most important sword makers in Japan, and the other is broadly attributed to a school, is that the kind of historical touchstone you are referring to? These decisions for many collectors are normally based on their own interests and collections. If you collect Nanbokucho Soshu, then the Sa blade fits. If you collect Kamakura Bizen then Ichimonji would be the way to go. Other collectors just buy what moves them. Some just buy Juyo. Some want blades w/cutting tests or battle damage. Some want swords from particular time periods or schools. Now, broadly speaking Iwato Ichimonji is viewed as the least prestigious of the four Ichimonji traditions, the others being Ko-Ichimonji, Fukuoka Ichimonji and Yoshioka Ichimonji. Hard core Ichimonji fans love the first two. But it ultimately depends on the sword, because even the worse Ichimonji can be great. That said I have seen MANY ho-hum Ichimonji. In fact, I was kind of unimpressed with the hype surrounding Ichimonji swords until seeing Paul Davidson's Yoshioka Ichimonji two years ago at Sothebys. It was like a revelation, like seeing a sword for the first time: a brilliant habuchi with choji that looked almost three dimensional; layers of floating utusuri like the clouds a plane passes through on its way to a landing. Never handled one like that before. I've seen some nice ones but this was the first and only one I ever handled where I remember thinking: "So this is what all the Ichimonji excitement is about." So, If my pocket were full of change, and if I were hunting for an Ichimonji blade, I would want something at least which approaches that. But that's aesthetics, not history. Elias, while I appreciate your desire to touch history, my recommendation is almost like a mantra or broken record on this board: keep your money in your pocket. Study. Look at as many swords as you can. And when you decide what school or time period moves you, then go shopping. Until then, keep your powder dry and your mind open. Buying swords is easy. Buying the right sword takes study. Best of luck.

The Iwato Ichimonji has passed through several dealers after passing the Jūyō shinsa. 2021 - https://web.archive.org/web/20210612111517/https://katananokura.jp/SHOP/2105-K02.html (without koshirae) 2025 - https://web.archive.org/web/20250322181409/https://www.samurai-nippon.net/SHOP/V-2114.html 2025 - https://www.toukentakarado.com/item-tk017-juyo-den-iwato-ichimonji 2026 - https://www.aoijapan.com/katana：mumeiunsigned-den-iwato-ichimonji-65th-juyo-token/

Go to Utrecht then. Best opportunity to see irl what world of nihonto have to offer, at least in Europe.

The Birmingham Arms Fair is coming up (14th June) so here are some poor images of assorted kozuka that I will be taking (Table 81) Mei include Goto, Hamano, Issando Joi, Hirata (the incredibly rare enamelled tigers) etc. Quality ranges from “OK” to very fine (imo🙂) Hope to see some of you there. All the best. Colin

I'm assuming Elias has put a hold on both swords and is now trying to decide which to buy. With all due respect, if you are asking these questions you are not ready to make such a purchase, especially a Juyo level sword sight unseen. I was where you are a few years ago. The excellent advice I received back then was to learn as much as I can about Nihonto, invest in good reference books, see high quality swords in museums or sword meet-ups eg NBTHK-EB (since you're Germany-based), the annual Japan Art Show in Utrecht etc. You need time to educate your eye and sense of appreciation. This invaluable time spent researching will help you to define what interests you most. There are so many blades available from all eras, traditions, schools, different blade shapes. With that knowledge you can begin to make a decision thats right for you and not someone else. Thinking about financial appreciation with regards Nihonto, Tosogu etc is wrong. These are not investment vehicles or a way to diversify your investment portfolio. Chances are you will lose money when you sell especially after you add 19% VAT and import duties to those prices. The blue chip investment pieces are healthy, signed, ubu blades by important makers. Personally I would take a step back. Spend 6-12 months researching nihonto then visit Japan if possible, or attend a show like the JAS in Utrecht to find a blade that speaks to you based on some criteria you have established for yourself. Photos are not a good way to determine whether a particular blade is right for you. And I certainly wouldn't put much weight behind a dealers marketing fluff. At the end of the day you have to make the decision, but that right decision for you will be very different to that made by someone else.

The tag looks questionable to me. The town’s name Miyajima-cho (宮島町) was used after 1950. If the tag was written just after the end of WWII (1945), the town’s name should be Itsukushima-cho (厳島町). At the time, Hiroshima-ken was most likely written as 廣島縣. There are three 島 kanji on the tag. They are all wrong characters. 宮 looks strange. It looks like 官

Hi Andy, I think the translation that you have for the tag is accurate: 広島県 – Hiroshima Ken - Hiroshima Prefecture 佐伯郡 - Saeki Gun - Saeki district 官島町 – Miyajima Machi - Miyajima town 一四六 – 146 海軍大佐 – Kaigun Daisa (Navy Colonel) 松井島吉 – Matsui Shimakichi (Given name) I don't know anything about Japanese Navy ranks, however, when I put "Daisa" into the online dictionary that I use, the definition comes back as "colonel; (navy) captain" so it might just be a semantic thing. https://jisho.org/search/daisa That said, how convinced are you that the surrender tag is genuine? It looks practically pristine and the ink is so black it could have been written yesterday...

It wasn’t uncommon for a 曹長(Sergeant Major) to carry a non-Type 95 NCO sword. According to the 1945 regulations, NCOs were permitted to carry their own gunto or similar sword. What’s particularly interesting here is that this sword is fitted with an officer's tassel (company-grade), which technically shouldn't be the original match.

Is this or has this transaction been resolved or has the request to post the original, full, unedited sales description been ignored?

I think we have a couple photos showing NCOs with officer gunto. If anyone knows where they are, please add to the thread. But what I found today is an officer gunto with a wrapped surrender cloth of a Sergeant Major. Found on this Gunboards Thread. The cloth says: ""243rd Infantry Reg., 5th Co., Army Sgt Maj. Nishikawa Yataro" with the flip side reading "One Nihonto sword including leather scabbard cover and handle cover" - translation by Edokko, Gunboards. The blade is an undated, large Seki stamp, Kanemasa. I mention that because later in the war, the uniform regulations were amended to allow NCOs to carry civil swords. This one is in a leather covered wooden saya, but there's nothing about the blade nor fittings that says "civilian sword refitted for war." The company grade tassel could easily have been added by an owner over the past 80 years, but if original, would be another one of those mysteries. Was the Sgt Major being promoted to officer rank? Who knows. My Army son-in-law said "Sgt Majors are at the top of the food chain, like a General or Admiral. They do whatever the fxxx they want to do."

I think Masatsune is a possibility for your sword.

As others have said, you need to determine your aesthetic preferences first and then also fine tune your technical knowledge. I would not be too harsh on you here as both swords have similarish notate hamon outline (at least the Kesho outline) but Ichimonji has more choji and slanting gunome. That aside, it is clear to me you like robust-looking (both have very similar moto/sakihaba) older swords (14 century Koto). Look at how healthy the Iwato is. It is 50% heavier for only 10% more length. Also look at the jigane. While the setsumei (narrative) of the Juyo certificate of the Sa comments about it being kenzen (well preserved and healthy), I would say the Iwato seems healthier and also the jigane is tighter. The koshirae are both average (at best) typical Aoi add-ons, adduced by Aoi to make the “packages” more attractive to a foreigner. Don’t be skewed by them. Utrecht is helpful but don’t expect heaven and earth. After all, it is only 8-9 dealers. And if you can, visit Utrecht, visit collectors, go to the DTI. The latter is the real eye opener as that is where you see the top quality which Utrecht cannot give you (you will see JuBi and if you are lucky the occasional JuBu, lots of TokuJu and countless Juyo). Tune your eye and understanding.

Thank you very much for your honest and wise words. As a beginner, I think it’s easy to change your opinion quickly while still learning. Personally, I’ve developed a real appreciation for Japanese craftsmanship and the history behind it. Reading many discussions, I’ve realized that a great sword is not defined only by age or appearance. There are many different aspects that make a Katana truly special — several of which you already explained in detail. Because of that, I think you are right: I should take my time. A beginner’s preferences can change quickly until they eventually discover what truly fascinates them. I would be genuinely grateful, though, if in the near future you could recommend a few blades and explain what makes them historically or artistically special. That kind of insight helps me tremendously to better understand the market and the fascination behind Samurai swords much faster. I’m sincerely thankful for your advice and for taking the time to share your knowledge with me. It’s more helpful than you probably realize.

Ok I'm droping here Nagamitsu with Hozon mei with 3 strokes. So genuine but ranked Jyo saku. Made by aprentice or student cheers.

Its a very personal thing, but: This is very good Iwato and overall good Ichimonji. Restrained, without choji going to shinogi or crazy utsuri, but very good dense jigane and very good hamon and good condition. I like Sa school better in general, but the shown example is average for the school or slightly above average. Very good jigane, some activity within the hamon, but nothing groundbreaking.

Hi Andrew, The Kai Gunto looks good from the little that's shown. Sword aside, I am no expert re translation or surrender tags for that matter.... I have only one but i have seen many. I also know what I would believe and buy and this 'surrender tag' is not it. To be honest I would be making observations and asking lots of questions of the seller. IMO this tag is just not >80 years old. The age of the material (Calico?) is so wrong as is the new twine and fresh texta kanji. Maybe it's a copy of the original that fell apart or was lost? But, considering the above and with the anomaly of the rank IJN vs IJA, I would question both the authenticity of the 'tag' and any supposed relationship with the sword. For me, what ever is written on the tag is academic. Don't mean to be negative ....just my opinion. All the best. Rob

Here is an AI translation of the Sayagaki "The steel displays a refined, tightly forged itame-hada (wood-grain pattern) accompanied by a faint, misty utsuri (reflection effect). The hamon (temper line) consists of a restrained, low-variance ko-choji (small clove shapes) mixed with ko-gunome (small undulating waves). The cutting edge features abundant ashi (vertical activity lines), with a dominant nioi-based composition accompanied by fine ko-nie crystals, presenting a bright and clear appearance. The boshi (temper line in the point) continues straight into a rounded return, with the structural condition of its nioiguchi (boundary line) being exceptionally well-composed. This is a masterpiece authenticated as a product of the aforementioned Iwato branch within the grand Ichimonji tradition. Representative smiths of this lineage include Yoshiie and Yoshiuji, whose working periods are confirmed by existing inscriptions from the Gentoku and Genko eras (1319–1332). Blade Length: 2 shaku, 3 sun, 3 bu (approx. 70.6 cm / 27.8 inches). Written and recorded during the last ten days of the first month in the year of the Water Rabbit, the 5th year of Reiwa (January 2023) by Tanzan [Tanobe Michihiro], followed by his personal monogram (kaō)."

(Working on the sayagaki) Edits: wait, there is already a translation by Tsuruta-san. Wish I had seen this before started translating this sayagaki orz Sayagaki by Mr. Tanobe: Bizen no Kuni Iwato Ichimonji, greatly suriage and unsigned. The jigane is an excellent tightly forged itame-hada accompanied by faint utsuri. The hamon is composed of restrained ko-choji mixed with ko-gunome, with active ashi, nioi-based with fine ko-nie and a bright appearance. The boshi turns back in a rounded manner, and the nioiguchi is excellently controlled. This is an outstanding work attributed to the Ichimonji school. Among this group, Yoshiie and Yoshiuji are representative smiths, with dated works known from the Gentoku and Genkyo eras. Blade length: 2 shaku 3 sun 3 bu. Written and appraised by Tanzan in late January, Reiwa 5 (2023). 鞘書：田野辺先生 備前国岩戸一文字、大磨上無銘也。 淡き映を伴う板目の詰む精良なる肌合に、 出入を抑えたる小丁子に小互の目交じり、 刃文を焼き足良く入り匂勝ち小沸つき明るく、 直ぐに丸く返る帽子結び匂口の塩相宜敷く、 一文字派中同派と鏨せられる優品也。 一類では吉家・吉氏が代表で元徳・元亨の年紀が知られる。 長二尺三寸三分 吋令和五癸卯年端月下浣 探山観并記(花押) TIL: 塩相(しおあい/shioai) is a word referring to both Nie and Nioi, used in old sword books (古剣書) like 紛寄論 and many others.

Uwe ( @CSM101 ) Has provided us with an incredibly useful English index to the free Token Bijutsu newsletters in the downloads section. This makes the extremely useful articles therein very accessible and will be a great help. The Index is uploaded in the downloads section. Thanks Uwe.

Yes, it says 三池典太　Miike Tenta, a name of a near-legendary swordsmith from the Heian era. Best to consider this one an "homage". The mei adds nothing to the sword, and most people will find it suspicious and therefore an unfortunate addition to the sword.

@klee You should totally get that piece in front of Tanobe sensei. I think it's definitely worthwhile given that it is attributed to Magouemon but has a general school signature. It is always interesting to see what he says in these cases because he will usually elaborate the insights that were used to determine that. I have seen the sayagaki from a few Sukesada that were generically signed but attributed to Hikobei etc. I have seen that Asahi one. It is hard to tell everything from images of course but it does seem to have more polish wear looking at the jigane. Less fumbari I think. The overall style looks way closer to yours though, at least to me. I really have not seen many swords signed or attributed to Gorozaemon or Magouemon. Maybe someone can chime in here, but they do seem to be pretty rare. I guess it makes sense though. Similarly, there are not many Hikobei and Yosozaemon, and Kiyomitsu was the other pillar of Sengoku Bizen. All that to say, I think they really are special. As for Juyo, Seiyudo told me they think it is a Juyo candidate and I also agree. It's essentially flawless in every aspect and fully kenzen. If you really talk to Seiyudo though, I get the feeling they don't really care about Juyo. Whenever I ask them about submitting swords (theirs, mine, whoever's) the usual response is something like "they keep your sword for a long time, it might not pass, it's kind of a hassle". I have also thought about submitting (because I also have that TokuHo Naotane that Moses polished that I posted in the other channel, this one: https://eirakudo.shop/683712 - listed as Juyo candidate), but lately I kind of arrive at the same conclusion. I have 2 Juyo in my own collection, from sessions 12 (Yoshifusa) and 48 (Rai Kunimitsu) and after viewing a bunch of other Juyo and JuBi blades in hand on my last trip to Japan, I think I have a much deeper understanding of quality markers. Just one example of many: until you really are up close and personal with a deep, blazing sunset colored iridescent nioiguchi, you just won't know that is a thing. I think I care less about Juyo now that I have a deeper understanding of quality, but also being in the USA makes it even more of a hassle and a risk so that plays into it as well. At the price points my current swords are at, I would only fly them in and out personally . I am much more into the spiritual and historical aspect of swords than the art aspects.

And not just that - but a large number of enthusiasts, not just sellers, but buyers and scholars too, who can point out to you exactly what makes each piece so special (or less-than special). Top-tier nihonto are notoriously hard to photograph and your knowledge and tastes will grow leaps and bounds faster when viewing blades in person than they would doing research online.

@Sukaira Have you considred trying for juyo ? There s a juyo Gorozarmon on Asahi token and I would think yours compares very well to this one. https://www.asahitoken.jp/contents/01_token/details/token-A/A_sd406.html Personaly, I prefer the jigane on yours more than the juyo piece

@Elias6677 It s a great endless journey for sure and I hope you find great satisfaction which ever way you decide to go. I dont think theres really a wrong decision here from a financial point of view. Its always difficult deciding on that 1st piece but once you do , I think you will quickly find a direction you want to go. You are much more fortunate than others in that you are able to start from a much higher financial starting point. You might want to delve more into the same school, a different time period, different tradition, or maybe focus into the same smith even. There are great people on the forum like @Mushin, @Rivkin and many others who ve helped me a great deal over the years. And when it comes to data, we are extremely fortunate to have @Jussi Ekholm Great wishes on your journey and looking forward to hearing about your decision and hopefully more details of the blade when you receive it ( esp if you go with Sa 😁 )

I spent two months in Japan, and during that time I developed a real fascination with Japanese culture and history. Because of that, I’m willing to invest a certain amount of money in a historical sword. For me, owning and admiring a genuine piece of Japanese history on a daily basis is something very special. However, I’m an absolute beginner. I don’t want to lose money unnecessarily, and I know I currently lack the experience and trained eye to recognize an exceptional blade. I hope that will change over time as I continue learning. At the moment, I’m mainly trying to gather information and avoid paying expensive “tuition fees” through bad decisions. I’ve learned a lot over the last few weeks, but I still don’t want to buy a katana without a clear understanding of what I’m purchasing. For me, the history and quality of the blade are more important than appearance alone. I would really appreciate any advice or opinions from more experienced collectors.

And dealers wonder why we have trust issues with them.

Translation of the Juyo zufu for iwato blade: Jūyō Tōken Appraisal Report 65th Designation Session — November 7, 2019 (Reiwa 1) Classification & Attribution Type: Katana (刀) Signature: Mumei (Unsigned); attributed to the Iwado Ichimonjischool (無銘 伝岩戸一文字) Quantity: One item (一口) Appraiser: Sato Hitoshi (佐藤 均) Technical Dimensions (Hōryō) Blade Length (Nagasa): 77.6 cm Curvature (Sori): 1.2 cm Motohaba (Base Width): 2.95 cm Sakihaba (Tip Width): 1.85 cm Kissaki Length: 2.65 cm Nakago Length: 21.5 cm Nakago Curvature: 0.1 cm Connoisseurship & Workmanship (Keijō) Form (Sugata) Shape: Built in shinogi-zukuri with an iori-mune. The blade presents a powerful, wide profile with minimal tapering from the base to the point. It features a robust thickness (kasane), a characteristically shallow sori, and terminates in a standard chū-kissaki. Steel Grain (Kitae) Structure: A masterfully forged itame-hada (wood grain) closely interwoven with mokume-hada (burl grain). The surface is densely and richly coated in fine, vibrant jinie, interspersed with crisp chikei lines. A faint, elegant utsuri (mist-like reflection) rises clearly across the blade. Temper Line (Hamon) Pattern: A base of shallow notare(wavy line) complexly mixed with ko-gunome (small undulating nodes) and ko-chōji (small clove shapes). The hardening structure is highly active, showing frequent ashi (legs) and yō(leaves). The edge is frosted with fine, crystalline nie, showing subtle kinsuji(golden lines) and delicate sunagashi(sand-stream) effects. Point (Bōshi) Tempering: Follows a restrained sugu(straight) path, resolving in a neat, small maru (rounded) turnback. Tang (Nakago) Condition: Ō-suriage (significantly shortened). The heel is cut flat in kirifashion. The file marks are slanted katasagari. It bears two mekugi-ana(peg holes) and remains entirely mumei (unsigned). Appraisal Commentary (Setsumei) During the Kamakura period, the dominant lineage of Bizen province split into the legendary Fukuoka and Yoshioka Ichimonji branches. Parallel to these mainlines, several smaller, highly specialized offshoots emerged, including the Iwado Ichimonji group. The name "Ichimonji" derives from the signature style of these schools, where smiths famously chiseled the single horizontal character "Ichi" (一) into the tang. Some blades bear only this solitary character, while others append the smith's individual name beneath it. The Iwado line specifically refers to a localized collective of artisans active in the Iwado district of Bizen toward the twilight of the Kamakura era. Extant signed examples from this group establish their lineage directly back to the Yoshioka clan. This specific specimen exhibits an exceptional, tightly knit steel texture (hada), highlighted by a remarkably thick, deep layer of jinie and fine chikeiactivity. When compared directly to classic Fukuoka Ichimonji pieces, the hamon presented here displays a tighter, more compact arrangement of ko-chōji and ko-gunome elements. Rather than overwhelming with flashiness, the blade relies on a deep, quiet craftsmanship and superior forging control. These traits perfectly align with the textbook characteristics of the Iwado Ichimonji school, making it a stellar representation worthy of its high-ranking status.

The tag looks very new indeed, do you have any history of how it came to Australia? I couldn't find a record of a Matsui Shimakichi in the list of Etajima graduates, it is possible he was a graduate of the IJN aviation academy or a civilian employee working for the Navy. It would help to know where the sword was surrendered to narrow down the possibilities.

This is very true. Heck, go visit the Samurai Museum in Berlin. It's on your doorstep and a showcase of world class artefacts from all eras of Japanese Samurai culture. The artistic design presents the items in a unique, immersive and informative way, putting many similar institutions to shame.

Hi Andy, One more thing to check, the name "Matsukichi" can also be read "Matsuyoshi" from the same kanji so your guy might come up under the alternative reading.

Thank You so much for Your help. I really appreciate it. Kind regards, andy.

Equally useful: Meito Zukan Meito Zukan.pdf

It's worth paying attention to the Tanobe sayagaki. His opinion is highly valued when it comes to evaluation and often more educational than the Setsumei. Interpretation though is an art unto itself and much reading between the lines is needed, which only comes with experience.

400,00 Euro plus 10,00 euro shipping worldwide

Very unusual and attractive. Good buy for someone.

I will post my story here as it is up to date now. starting measurements: 6x6x50in. and 13 lb of weight at least at start. Ok so about UPS and their shipping fees - depends on store? fuel surcharge - 230$+ UPS store number 1 - 950$ to ship it from states to europe... UPS store number 2 - 1116$ same route -another proposition from same store - USPS - 335$ but god knows how much more and probably 4 weeks of waiting. UPS store number 1 comment "Best of luck getting it shipped cheaper." - exactly that Another shipping company option from auction house propositions - 1687,47$ - yeah exact number no mistake. I found SFL their quote for fedex and ups attached How they cut prices so much? I have no idea but guys - item in double box 10x9x56in. 7 lb [33 lbs chargeable weight] all inside double wrapped with a lot of bubble wrap reinforced by tape. Item so secure that probably didn't felt being shipped. Cost? - 450$ by FedEx International Connect Plus [customs service included] It took 2 weeks total but I'm sure it could be done in one week becouse of starting day was friday, also importers statement must be strictly detailed. I payed taxes and here my little win - I convinced customs that item without certificate was an antique older then 100 but no more then 250years old. [15%/230$ save] I wrote a little poem about making techniques and attached other examples. I mentioned even about auction house history. CITES and CCL was mentioned too. So after exact 138 emails I got my lot. Item was longer then 50 inches. Yet still shipping quotes from UPS feels like ransom. There was an opinion that UPS is cheapest around for big packages and fedex is good only for small ones. Looks like it changed a lot. Here funny story - when I found SFL and get their quote I thought it was a scam. After digging into their facebook account I thought it was elaborate scam :D yet they are lightning fast and professional. Do I feel that shipping was expensive? Current situation at middle east is an easy explanation for shipping companies even for these extra fees. Being persistent pays off. Great feeling to get this narrow HS code [9706.90.00.60] recognised by customs without official certificate or expert opinion. Marcin

Its absolutely impossible to tell without seeing them. Iwato kantei means either it has suguha sections or it is very late yet Ichimonji rather than Kozori.

Thank you for the link and the sayagaki image @Sukaira ! Beautiful jigane and has everything I love about Kiyomitsu for sure. I really like that it has an unusualy thin suguha which showcases more of the jigane. Looks like tanobe sensei liked the blade as well ! Komaki san from Samurai Nippon said he can request a sayagaki for my blade but the timing would depend on Tanobe Sensei s schedule. Waiting to hear back

https://iidakoendo.com/16843/

Thank you very much for the menuki.

I've heard these white kizu pits and along the forging folds are due to the smith overheating the blade during yaki-ire. But I think its more likely to be over use of uchiko which becomes embedded in kitae-ware and rust spots. Anyone shed any more light on these unattractive features?

It is more of a hoso-suguha and has fine kinsuji running through, ashi and yo. Jigane is moist with chikei and the bo-utsuri can really give a blackish depth to the steel. Really intentional, quiet and beautiful and this is why Kiyomitsu is loved. I found out that Mori Motonari had Kiyomitsu forge his Jin Tachi for the Battle of Itsukushima.

These menuki look cast and then hand finished…imo.

There is no Kiyomitsu as you describe it. Session I: tanto with 26,5 cm but only one hole. lot 313 Session II: tanto with 30,6 cm; only inscribed Kiyomitsu probably Etchu Uda; lot 234

関住兼松一則作 – Seki ju Kanematsu Kazunori saku (Kazunori’s family name is Kanematsu.)

Please post the Original Sale Description

The yosegaki hinomaru that wasn’t… sorry for putting this here. Seemed the most logical of the forums. This short monograph is about a flag I bought, or more appropriately the box it came in. I’m sharing this as a small example of rudimentary translation, historical research, and how the potential story can mean more than the item itself. So if interested, get your favorite beverage, sit back and relax, and read on… While perusing an online auction site, I came across this seemingly uninteresting Japanese flag (hinomaru 日の丸) in a box. What intrigued me was the number and variety of labels on the box. I assumed the flag was a modern one. But intrigued none-the-less. Fast forward two weeks and the box arrived. The first thing I noticed was that the flag seemed original – possibly silk or Rayon, silk himo cords on the corners with leather corner stiffeners. A quick measurement confirmed this suspicion with a Silver Ratio of 7:10 Y to X ratio and the center “sun” being 3/5Y (see Nick Komiya’s articles about yosegaki flags on Warrelics.com for an explanation on what this means). So the flag was from the time period; a pleasant surprise. Next, was to tackle the various labels. A dream for practicing a bit of translating and research; though a bit frustrating as it turned out. I do not speak, read, or write Japanese. So I use a technique that I suppose many use, however I wanted to talk a little about it for those who struggle as I do and need a method. As shown in the pictures, there were 4 labels, writing, and a stamp all over the thing. To affect the translation, I started with pictures of the individual labels. I then take screen shots of the labels and, in some cases, part of the labels or individual characters. I drop those pictures into the Google search bar and hit the translate button. Here’s the tricky bit – you can’t trust the translation. It’s always something weird. But it can point you in a direction. So the next step is to reverse the process. I ask google “XXXX (whatever the words were) in Japanese kanji.” I then match the results to the kanji on the label. If it matches, great. If not, then I start putting in the individual characters and repeat the process. Sometimes I use the drawing app to draw the kanji and get an individual word. Eventually, I get to what I believe to be the closest meaning to what is written on the label. I know, it would probably be faster to just learn Japanese. But teaching an old dog new tricks and all that… So get to the results, you ask. Okay, here it is. The first question is whether or not the box is as old as the flag. And I think it is. The writing on the front says “National Flag” and the stamp says “Great Japan National Flag Association.” (大日本國旗協會). The long vertical label in the center translates to Chief Priest of Meiji Jinju Admiral Arima Ryokitsu.” That’s interesting. Why is that there? More on that later, however he lived from 1861 to 1944 so if the label is period, that’s good. The round label translates to roughly “Humbly made by the Japan National Flag Company, Ltd. (日本国旗株式会社)” and their address of Tokyo City, Kyobashi-ku district, Kobikicho (a neighborhood). The important part of knowing that is because the Kyobashi district was merged into another district in 1947. More evidence the label is period. The horizontal label, says “Great Japan National Flag Association.” This was a nationalistic group that promoted the military, nationalism, and the use of the hinomaru flag. If you look at the two sets of kanji marked by arrows, you’ll notice on both labels that those characters are the old style characters used prior to the 1946 revision. This further points to the labels being period. Now to the small label on the back. The kanji means “stop”, however when combined with the .25 yen it most probably means “discontinued” or what we might say in the States “clearance.” The whole package paints an interesting potential picture. An unmarked period flag in a period box labeled with the Greater Japan National Flag Association and the Japan National Flag Company with the label from Chief Priest of Meiji shrine Admiral Arima Ryokitsu. How does it all fit together? Well, Admiral Ryokitsu was the Chief Priest of Meiji Shrine from 1931 to 1943, which matches the period for the box, labels, and the flag. Additionally, flags were sold, and sometimes blessed as an amulet, by various shrines to citizens to be used as yosegaki (寄せ書き) flags. But this flag has no writing and it has a clearance tag. So here’s my theory: the flag was made by the Japan National Flag Company Ltd. for the Greater Japan National Flag Association who donated the flag to the Meiji Shrine sometime before 1943. As it’s chief priest, Admiral Ryokitsu’s label was attached. But the flag never sold. So when Admiral Fujita took over as chief priest in 1944, the flag went on clearance. It must have sold at that time because US fire-bombing destroyed the temple in Feb 1945. And for whatever reason, the flag was never used. Disclaimer: The translations, and therefore the theory, may be completely incorrect. And of course, the true story of the flag/box may never be known. John C.