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Hello fellow woodworkers: I wanted to share this shirasaya I made for a naked Monju Kanesada yari. Mostly because of the saya's unusual shape. The shape was inspired by an existing shirasaya I have on a Inoue Shinkai yari. The wood is aged (i.e., very low to no VOC's left from the tannic acid) hard maple with an ebony inset for the mekugi. What makes it particularly difficult to manufacture are the number of compound angles. There is a central peaked rib that runs the length of saya but only on the top, which makes it easier to index which way the top aligns to the bottom half. From the rib, the width is a flattened oval, widening out just after the mekugi ana to accomodate the extra width on the blade section and rounded on the back side. The rear end is also dome-shaped and the tip is sort of boat or airplane shaped. All of which brings me to the challenging part - this must all be done by hand. No power tools involved (with the exception of drilling the mekugiana to keep it straight). Just a kanna (Japanese block plane), some different sized oire nomi (chisels), a bench scraper, and some files. The finish is a standard woodworkers finish of boiled linseed oil followed by carnuba paste wax. Thanks to the various bench scrapers, the wood is extremely smooth and tactile. The Japanese do not usually use sandpaper so I didn't either. It's tough not to hold it! If you have any questions on the process, I will be happy to answer. John C.

I have been advised of the passing of Brian Klingbile (Username Winchester) by his wife. She had this to say: "This is Brian's wife, Sarah.....Unfortunately, Brian has passed away. Thank you so much for providing such a wonderful forum. Brian was new to collecting, and was excited not only to connect with others with similar passions, but to have access to learning opportunities for his new passion. What you have here is amazing, and I wanted to let you know that you make a positive impact on people's lives even if you don't hear this on a regular basis. Thank you for being so welcoming to Brian. I have attached Brian's obituary in case you or anyone else was interested in it. I don't know who Brian all connected with (or to what level), so I will leave announcing or contacting others up to you. I am comfortable with this information being shared. https://www.zimmerfuneralhome.com/obituaries/brian-klingbile " Our condolences go out to those who knew him, may he RIP.

The Honno-ji Temple Museum DAIHOUDEN (The temple where Oda Nobunaga died), has been hosting an excellent exhibition for the last 8 months entitled "Valuing the Invaluable Symbols of the Warrior Class". This has been an excellent exhibition that saw a large attendance. Here they did something more than just show the sword. They also produced life size Oshigata of the whole sword and displayed this below the sword with explanations so the people visiting the exhibition could compare it directly with the sword so that they knew what they were looking at. Basically like looking through the eyes of a Hon'Ami appraiser. This was a great idea. They also provided the valuation according the Hon'Ami based in Gold Coins of how much each sword was said to be worth at the time in gold pieces and converted this to today's value. They gave only one value but the truth is that there are three values that could have been provided, the Gold Price, the Rice price and the Labour price. The most valuable is the labour price whilst the rice and gold price has not really kept up with inflation. Their price appears to settle somewhere in the middle. For example the Masamune Tanto had a price of 50 pieces in 1639: - In terms of rice this would be worth around 2-3,000,000 yen today. - In terms of gold this would be worth around 20,000,000 yen today. - In terms of labour where 1 ryu was equivalent to roughly one year's wages of a labourer. The this would be worth around 200-300,000,000 yen today. These are what the museum estimated today's value* equivalent would be from lowest to highest: - Hirotsugu Katana: 20 million yen (approx. $133,000) - Enju school Katana (attributed Juyo): 35 million yen (approx. $233,000) - Sekishu Dewa-ju Naotsuna saku Tachi (Juyo Bijutsu): 50 million yen (approx. $330,000) - Hasebe Kunishige Wakizashi (Hon'Ami Kōjō origami): 60 million yen (approx. $400,000) - Rai Kunimitsu Tanto: 80 million yen (approx. $530,000) - Norikuni Tanto (Juyo & Hon'Ami Mitsutada Origami): 100 million yen (approx. $665,000) - Masamune Tanto (Hon'Ami Koon Origami): 100 million yen (approx. $665,000) - Rai Kuniyuki Kodachi: 150 million yen (approx. $1,000,000) - Bizen Osafune Kanemitsu Tachi (Juyo Bijutsu & Hon'Ami Mitsutada Origami): 200 million yen (approx. $1,330,000) - Rai Kunitoshi Tachi (Tokubetsu Juyo & Hon'Ami Kōjō Origami: 300 million yen (approx. $2,000,000) This was very interesting and if correct it again confirms that we are living in the 安刀時代 (Era of the cheap sword). 日本刀の美 made a great video of this exhibition that you can view here and you can read more about it here on from Tamaki Joji Togishi's blog post. *I never attended the exhibition but did a quick google and found only one post but without any photographic evidence I could not corroborate these numbers and I could not find anything else so if you did attend or are going to attend before the exhibition closes this weekend, please confirm or deny these numbers. Thank you.

Hi folks! I just got a set of reproduction samurai armor from Japan, claimed as being somewhat old (maybe 70s or so). I was interested in folk’s thoughts on the quality and value of this armor? Best I can tell it is not hardened, happy to answer any other questions if helpful!

You can also put some padding into the sleeves (kote) so that they get a more “arm like” shape. Cut two cardboard tubes of about 8-10cm diameter, length normally 20-25cm, and wrap the shin guards (suneate) around. The shoulder guards (sode) are sitting a bit high. That’s probably because the bar of the stand is too long. It should be about 36-38cm… Guess that will enhance your display!

As a decoration, why not? And you can learn a lot from the construction since it looks like it closely follows traditional work in many places. Personally I would put a wider pedestal underneath the yoroi-bitsu box just to give the whole thing added height and presence. You might want to add a sword at the side? And I would take the two long cords and tie them behind the neck as a first step in how to correctly tie a shinobi-no-o. A fun journey lies ahead! I feel sure that in due course as your budget allows you will be filled with a desire to collect old parts or even display a genuine old set too.

@wakiboy yup!

For those who have no idea of what we are talking about... here is an article from 2018 about the craze that started in 2015, such is the popularity of the game that it is still a thing today.

Well, feel i have to add something positive here as folks seem keen on pulling Aoi apart. All i will say (in my experience), there are no special saint type dealers in this game. Every dealer will have sold something to someone that has ******them off. Its how they respond that makes the difference. My experience with Tsuruta San has been 95% positive, he accepted a sword back that i was not happy with, without making a big song and dance about it. Antiques in general is a minefield. Personally, i think there are far worse dealers to moan about. Lets face it, buying swords online is less than ideal.

Yes, this would be an unmissable exhibition. A broad range of blades from top makers with a focus on middle Koto period. I'm a little surprised a signed Masamune was only valued at $665K though, but a Juyo mumei Enju is $233K Full size oshigata under the blade is a great idea to inform the casual observer and assist those with some knowledge.

While we’re on the topic of ha-machi and mune-machi alignment. Here is a rare glimpse of the machi on a wood handle Variation#8 that displays misalignment. Looks like a seki stamp on the blade, and I think the serial number is 215465, although the eBay photos make it very hard to see.

oops I failed with uploading photos, here's the links. https://touken-ranbu.fandom.com/wiki/Aizen_Kunitoshi?file=Aizen.png https://touken-ranbu.fandom.com/wiki/Akashi_Kuniyuki - Kuniyuki looks stylish, wonder if he wore this in Kamakura times?

If the date were authentic then around 624 years old, however my impression is that the mei is not an authentic example of Oei Bizen Yasumitsu. https://www.google.com/search?sca_esv=51f7e736cc3ae313&rlz=1C1YTUH_enUS1164US1164&sxsrf=ANbL-n5ZA1YvSe7fFuacZEAz9Ky50sgU8w:1770829463352&udm=2&fbs=ADc_l-aN0CWEZBOHjofHoaMMDiKpaEWjvZ2Py1XXV8d8KvlI3ppPEReeCOS7s1VbbZz2TLt2sOibMbYx2XAHg-v8xM5VF21PBaI65iLKFQqYKyuNIrDnm7F1EBiwvvxej7VarpUVOsmaAouY6YfTb0P07uvJ1kSkBvJv3ZPqOgqj5jRBD5oez8Cr0DJEYrGkGqbLAnVBWawLvlnnreVGZ3Efk-KXWnq72g&q="備州長船康光"+"応永"&sa=X&ved=2ahUKEwizqvvo9dGSAxUvhIQIHXlgCJMQtKgLegQIExAB&biw=1085&bih=790&dpr=2.5

You can use a magnet to see which components are steel/iron vs fibreglass, resin or other material. it will help you to know what exactly you have bought. Although new, a lot of work has gone into assembling it. Absolutely nothing wrong with enjoying this as a highly decorative display item (for a fraction of the cost of the Edo equivalent) These armours are usually available in the $1500-2000 range although some are horrendously priced on eBay and misdescribed as Edo or “genuine vintage” (whatever that means) I have recently started to collect armour……it can be rather addictive and is certainly very very challenging as there is so little reliable written information in English (compared to swords or stamps or coins etc🙂) if you get “hooked” and want to progress start with components….masks…Kabuto and exercise extreme caution seeking advice before diving in. Pieces in poor condition can be bought for very little yet can still be interesting. PS……I’m what Bowie would describe as an “absolute beginner”

As some of you know, I spend a lot of of my retirement time In Japan looking at the auction sites like Yahoo. Everyone, except the most woefully uninformed, knows that a decent level maker without current papers will be sporting a fake signature. However, I'm starting to see a pattern where it looks like nakago are often being reworked before the blades are put on the market. The first example below clearly shows overworked yasurime but you can still see traces of the original signature under the new Kanji. On the second, the signature goes into the fuller in a way that I've never seen before. Best, Hector

Those are pretty egregious examples. The second one is comical. One also needs to be very careful with papers. A couple of years ago there were 2 'Juyo' blades by Go Yoshihiro and Awataguchi Kuniyasu with altered nakago and hamon to match the NBTHK oshigata from stolen papers. More recently this fake Sadamune. It's a minefield out there.

I didn't realise mukansa were also being targeted but I suppose it makes sense if someone with a chisel is trying to make a quick buck. 😳 On my Yahoo travels today, I also came across a Kiyomaru and a Chikuzen no Sa. Must be my lucky day! 😬

Sounds like a very well-done exhibition, glad to hear it had a good attendance. Hopefully other exhibitors will take some lessons from this.

Yes, it's become increasingly prevalent, and not just for historical smiths. I've seen a few gimei of Ningen Kokuho and Mukansa smiths as well. This sort of thing is a big factor behind the push to make the NBSK the shinsakuto equivalent of NBTHK certification, especially with some Chinese forges now at a point where they're able to produce stuff more or less on par with entry-level Japanese shinsakuto.

Sam: What's interesting is that this could be the genesis of why the Chinese fakes have offset machi. I could imagine them taking apart a type 95 and thinking this is how it is supposed to be done. John C.

Thanks for the reply. It looks good, worth the extra effort. (I've seen other attempts around the world to make shirasaya that for various reasons just look wrong!)

Me thinks 212465 and note the end of the tang in relation to the hilt. Thanks for posting.

Steve: I think your method with the foam was fine, just switch out the foam for leather. There is an old weightlifting belt on shopgoodwill that would make a dozen very thick seppa. https://shopgoodwill.com/item/254983331 Just lightly trace a seppa onto the belt using an exacto knife. Then slowly cut through with the exacto knife, which make take several passes. You can then treat the seppa just like wood and sand the edges smooth and even burnish the edges (to smooth and round them) with water and the shaft of a screwdriver. John C.

Honoki is much easier to work with. Almost as light as balsa (hence the light weight of shirasaya). It also tends to have long straight grain, which again is perfect for shirasaya. Maple is much harder, denser, and heavier. And as a consequence, much harder to carve. I had to stop about every 10 minutes and re-sharpen the tools. But the upside is that hard maple doesn't dent as easily. In any case, honoki is nearly impossible to get here in southern California. My local wood suppliers didn't even have American magnolia. I just happen to have some left over maple from another project so I used that because of the grain and color. John C.

Well for what its worth the blade is steel (its magnetic) and 6mm thick. Have now taken a calliper to it, its substantial in weight. Its also not chromed or polished etc. But yes mounted more appealingly would have been nice.... oh well so it goes.

I dont think this sword was made in the thousands. I think it was likely made maybe a few at a time, depending on who was selling them. I cant imagine this particular design being a big seller to the point where they needed volume. As for the price, someone said you didnt get ripped off.....I would agree to the extent that "ripped off" is more a feeling than a value. I would simply say that for the same $100, you could have procured a new mass produced blade made in china, but manufactured from actual carbon steel and mounted more appealingly. At the end of the day though, if you are pleased with how it looks on your wall......thats all that really matters.

One of NHK's more recent videos explores the use of Nihonto in Kabuki theatre. It explores the Japanese mindset around swords, how legends influence culture and this space through dramatisation. Nihonto have found a lot of interest through the recent Touken Rabu manga series which has now been brought to life in Kabuki. Animating the sword, makes the people associated with it come alive and makes the art form even more interesting. It was a fascinating watch to get an insight into the spirit of the Nihonto. https://www3.nhk.or.jp/nhkworld/en/shows/3025180/

Gen Z rep has to budge in once in awhile Great idea, now imagine having one of those swords in your collection? these boys are dropping the ball.

Don't mind you budging in here at all. Great insight into culture. Yes, I have read the reports of strong interest from girls at sword exhibitions. If the boys were smart they would go hang out at the latest Rai and Awataguchi exhibition dressed like a Token Rabu character.

Hope you don't mind me budging in here Brett Touken Rabu is such a odd sight. I've followed a large amount of Nihonto based accounts on Twitter, and man. It really almost all revolves young women in Japan obsessed with, Awataguchi and Rai works depending on how handsome the game designers made them out to be. (Token Rabu also has a videogame adaption that is immensely popular, pretty sure Darcy wrote about this in his "Touken Girls" article. I'm afraid to admit I may know more about the characters than the actual swords.. but hey, those girls have very good photography skills when it comes to finding the source of their sword crush. (Yes they call it that) I'll attach some photos cause it is seriously funny, these girls really keep museums popped open and busy. And their community had put in major efforts to fundraise for sword restorations etc. Rai Kunitoshi looks a bit different.. then what I imagined.

It is... by Tetsuya Noguchi. I will add, that this artist's work has also been exhibited at other serious Sword Museums including Mori Shusui Museum of Art in Toyama. You can find the instagram post of the sculpture's arrival at the British Museum, here.

All good, I was not expecting a whole lot for my $100. Took me a sec to realise the thread was moved, but rightly so. If nothing else I can take it apart and see how its put together (and what to look for etc). Can certainly see how someone can easily pay a lot for it in the past. Given as someone above said it would probably have been produced in their 1000s I am a little surprised not to see more examples of this sword online (as fake). Searching showed nothing, lots of real ones, but no fakes like this. Anyway thanks all.

John: The main task is war, so I have to keep things more or less mobile. What I like about swords and other blades is that I could have some projects and working on projects serves like a safety valve. It's like returning to my pre-war workshop. But, unlike motorcycle projects, sword projects are much more mobile. When it comes to printers I chose the Flsun SuperRacer. I bought the first one in 2023 and it is still working, even as these printers (like any machinery) have to be maintained. As for the filament, I use CoPET/PETG locally manufactured in Ukraine. It is most suitable for the main task of my printers. Kind regards, Nazar

@MichaelL Relocating to the fake Japanese sword section. Sorry for the not-so-ideal assessment of your sword. For what it's worth, some people here on the forum started with a fake blade, which inspired them to find and collect genuine examples. Regards, -Sam

Nakahara Nantenbo (1839-1925), Buddhist name Toju Zenchu (Complete Devotion), was in the last 17 years of his life the Exalted Master of the main temple of Moyoshin-ji of the Rinzai sect. The inscription is the second half of the quatrain traditionally attributed to the First Patriarch of Ch'an known as Daruma, who brought Buddhism from India to China: It's simple: pointing directly at mind. There, (jikishi ninshin 直指人心) seeing original-nature, you become Buddha (kenshō jōbutsu 見性成佛) Of course kenshō is the Japanese Zen phrase for enlightenment which resides within us. That is perhaps the major distinction between the "prayer" and "meditation" type of spirituality. In the former, the dialogue is directed within in order to awaken the already enlightened original-nature/true Self. In the latter, the dialogue is directed outward towards a deity. Suzuki and other Japanese intellectuals introduced Zen to the West as a philosophy in order to cater to the Western European tradition. In truth, if you visit a Zen monastery in Japan, you will find a deep and profound practice of spirituality (God within) that is indistinguishable from that of a Catholic Trappist Monastery. This depiction of Daruma is one of my favorites--a testament to Nantenbo's irreverence and Zen humor. I can't quite imagine an artist during the Italian Renaissance producing any form of iconography that portrays one of the disciples of Jesus Christ or of a Catholic saints in this manner.The work was done when he was age 86 (the last year of his long life). Translation: David Hinton, The Blue-Cliff Record, Shambala Publications, Inc (2024), pg. 226

I would have some concern that modern adhesives could contribute to corrosion of the seppa and may be difficult to remove without affecting the existing patina or wear. A similar approach without adhesive would achieve the same result while reducing risk to the parts. Just a thought. Best regards, -Sam

Born 1984? That is absolutely heartbreaking. 😢