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

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

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

Here it is......

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

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

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

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

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

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

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

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

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