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From Hiroshima - the lights do flicker a bit in the room!

Just for fun, I took some measurements of my collection using two different Geiger counters. I noticed that the old *tsuba* actually registered slightly elevated radiation levels. One Tsuba from the Muromachi period, featuring gold inlay, really started clicking away. Everything is still well within the safe range — but where does it come from?

Huh, how odd! I was just looking for info about masamune these few days and got about 70 swords' worth of data purely online, not including other Sengo swordsmiths or any sword in the books. although I do read Japanese, so a lot of them might not be helpful, but I did read this fruitful 20,000-word article yesterday on nihonto.com almost exclusively about Masazane (https://nihonto.com/tonbo-giri/), perhaps that would be a good read? It's really an in-depth analysis of nine whole swords of Masazane. The picture quality is not ideal, so I would like to repost Oshigatas of two of the best works in there, one with Sankoken and one with two kinds of Kurikara, both from one of my favorite books, Random Thoughts on Japanese Swords by Kataoka Ginsaku sensei. I'm also waiting for my copy of Ise No Toko, excited to see what's in there. Oh and do feel free to ask me to translate texts that interest you as long as they are not way too long, I would say a Tanobe sensei's sayagaki is the maximum, longer than that then I could only give out a rough gist of the text orz

東神正国作 – Toshin Masakuni saku 昭和十九年三月日 – Showa 19th year (1944), 3rd month

Did you purchase it from a FUKUSHIMA or HIROSHIMA located collector?

Hello everyone, TLDR: Interested in Japanese swords and fittings? I made this to help the field. Open nihontowatch.com on your phone browser, and add to home screen (Share → Add to Home Screen). Thank me later. --------------------------------------------------------------------------------------------- I have been thinking for quite some time about the future of our field. I have been blessed with incredible mentors and opportunities, most notably the late Darcy Brockbank, who was so generous in sharing his knowledge. Since his tragic passing, I have felt a responsibility to carry that work forward. What I am about to present, I built as an homage to his memory. Our field has problems. We operate in a field of extraordinary depth without being equipped with the knowledge and tools to understand what we're looking at when we browse the market. Refreshing dozens of dealer websites every week, most in Japanese, copy-pasting listings into translation apps, pinching to zoom on sites built twenty years ago — market awareness is just painful and you miss things constantly. You spend an hour and walk away unsure you have seen everything. And this is just the market experience. The deeper problem is access to knowledge. There are no catalogues raisonnés for artists. Yuhindo would have grown into it — it was planned. But alas, Yuhindo is no more. No way to know, with any confidence, whether a price is reasonable without decades of experience or tens of thousands of dollars invested in published references. No way to know why something costs what it does. Communication with Japanese dealers remains daunting for most. No easy way to know who is a reputable dealer. The barrier to entry is simply too high, and this friction keeps our field artificially small. Fine art has Artnet. Watches have Chrono24. Antiquarian books have AbeBooks — markets with comparable depth and comparable opacity, served by platforms that bring transparency and accessibility. These fields have benefited immensely: they have enabled new entrants in droves to collect in confidence. Our field needs more knowledge and transparency to build interest and trust.Japanese swords and fittings. Eight hundred years of collecting history at the highest levels. The category that contains the most national treasures in Japan. The indefatigable search for perfection of an entire civilization. And yet, we have nothing. This had to change. As I write this, there are 3,021 Nihonto and 1,607 Tosogu items for sale across 44 dealers, Japanese and international, in a single searchable interface. Every listing is structured with attribution, certification, measurements, and artist intelligence data. NihontoWatch is on track to follow 100% of the online market for genuine items with NBTHK papers. Refreshed 12 times a day. Everything is translated and structured, as it trickles in live. But what is this worth, if it's so hard to know what you're looking at? Especially for newcomers, it is so hard to tell what you're looking at. This is where the magic is. I am nostalgic of reading through Yuhindo's artist descriptions. It made me deeply appreciate the field. It got me in. NihontoWatch scales this experience and creates something approaching a living catalogue raisonné for every Tosogu and Nihonto artist. It matches every listing against a database combining the complete Juyo, Tokubetsu Juyo, Juyo bunkazai, Kokuho, and Gyobutsu designation data — over 23,000 items at the highest level, with rich text in classical Japanese. This data is then processed, synthesized, and presented into NihontoWatch's artist directory in a way that is respectful of the NBTHK's copyright. With this, you'll be able to discover a maker's historical reputation through quantitative analysis of exhaustive provenance records, in ways never seen before. Over time, all of these artist pages will come alive, forming an ever-expanding knowledge base. - How rare is it? - How many Tokuju? - How many designated works ranked Juyo and above? - Why is this important? - Where does it rank relative to other works? - What is for sale right now? - What was for sale recently? All the answers are in. These are questions that come up constantly in our community, and until now, answering them required years of collecting published references worth tens of thousands of dollars, and patiently indexing them with post-its or one-by-one in a spreadsheet. Only professional dealers or major collectors could afford to do this. This is a BETA, so there are errors. The more obscure the artist, the higher the error rate, and there are still basic errors I need to fix with some famous artists. A lot of algorithmic tinkering and curation ahead. It will keep getting better with your feedback. See the results for yourselves: - Soshu Masamune: https://nihontowatch.com/artists/masamune-MAS590 - Ichimonji school: https://nihontowatch.com/artists/NS-Ichimonji - Yasuchika (tosogu): https://nihontowatch.com/artists/yasuchika-TSU001 - Goto school: https://nihontowatch.com/artists/NS-Goto Click one and explore the designations, the provenance abalysis, the measurement distributions. This is just a first shot — over time this data will grow. Here is one where I have published an item I studied for my Substack article on Mitsutada: - Osafune Mitsutada: https://nihontowatch.com/artists/mitsutada-MIT281 Imagine Yuhindo, but with a page for every artist and every piece ever captured on camera. Saw a national treasure at an exhibition in Japan? Share your photos on NihontoWatch's artist catalogue. In the future, owners of particular works will be able to publish them to the artist's catalogue. Think of it as a growing, community-curated knowledge base for every artist in the field. And so much more Browse and filter: Designation, dealer, item type, school, province — all filterable, all instant. Prices display in JPY, USD, or EUR. Every filter combination is a shareable URL. The sold archive tracks thousands of items for pricing research. And it works for every budget, for collectors at every level. - All Tokubetsu Juyo Nihonto on the market - All Tsuba with Hozon or Tokubetsu Hozon, maximum price $2,000 Setsumei translations: On some items, you can press the floating book icon on any Juyo item to toggle between photos and the Juyo setsumei translated text. For most Juyo and above items, the NBTHK evaluation text from the dealer's page is identified by computer vision and translated into English. It will fail if the dealer has not posted the Juyo Zufu extract, but in the majority of cases they do, and the result is remarkably accurate. Do use responsibly — the quality is great, but not perfect. Always purchase professional translation from Markus Sesko when contemplating the purchase of a Juyo-designated piece. Search alerts: Never miss an item again. Define keywords and filters and save them. NihontoWatch will run your search every 15 minutes, and when something new appears, immediately send you an alert email. In practice, missing a listing that fits your interests becomes almost impossible. Tip: I recommend avoiding overly specific queries. "Juyo tsuba" or "Kamakura signed tachi" are safer than specific artists such as "Yozozaemon Sukesada," which would be more fickle. Broad queries give you the best market coverage. Inquiry emails: Press "Inquire" on any listing to draft a professional inquiry in Japanese. Handles etiquette and formality, and can help you request the 10% consumption tax exemption available to overseas buyers. Did you even know you could get 10% off? How many new entrants lost 10% on this, at least at the beginning? I for one did. I've seen countless high spenders neglect to request it while shopping across Japanese galleries. Glossary: The technical language of Nihonto and Tosogu is deep and specialized — needlessly so for non-Japanese speakers. Anytime a technical term comes up, you can click and see what it means. Over 1,200 terms, searchable, automatically linked from the setsumei translations. Who remembers always keeping an index open to keep track of terms when studying Juyo items? https://nihontowatch.com/glossary How best to use NihontoWatch While it works wonders on desktop, NihontoWatch works most beautifully on your phone. I use it every day — it feels like I have the market in my pocket. Open nihontowatch.com on your phone, hit Share → Add to Home Screen. And voila, you have an app. It becomes something you check with your morning coffee, the way one might check the news. A word of caution The data has errors — always verify independently. This is a tool to explore the market, not a substitute for critical thinking. If it looks too good to be true, it likely is, and this system can't easily correct online misrepresentations. Old listings where dealers have not marked items as "SOLD" will still appear as available. Listing errors will slip through, but data quality improves continuously as the system learns over time. Get involved - Missing a listing or dealer you like? PM me or post here. - Bug? PM me or post here with steps to reproduce. - Dream feature request? Reply in this thread. I will keep this thread active and share major updates when time permits. Everything is free right now, and will remain so until ready for official release. This is no trivial task, and it is expensive to operate — it will need to be covered in some way down the line. It will be tempting to keep it for yourself. But if we want our field to grow, we must share knowledge and expand market access and transparency. The single most impactful thing you can do right now is help others discover and use the tool. Share it with your study group. Share it with your collecting circle. Share it with a friend who has been curious about Nihonto and Tosogu but found the barrier to entry too high. That barrier just got a lot lower. Farewell, Darcy. This is for the teacher in you. Hoshi

Early prototypes of shingunto. (T94 clearly) Here we have navy dirk so kyu -gunto. I would guess fabric was added at the end to help mute pommel or speed up production. Later dirks happened to be less detailed. So could they drop glue and go with sticky fabric underneath samegawa to cut time? @Conserved123 which one it is? http://ohmura-study.net/908.html Oh and If You have books about conservation of antiques (wood and steel) please drop here. It will get handy.

Assuming this is the same smith, I enjoyed the read: https://markussesko.com/2013/03/22/the-inokiri-and-the-travels-of-masazane/

I can give you both. I quoted the Bensons above, but here it is again, in addition to Moses. Bensons: Moses: So basically the same evaluation

I think 1944 is correct. Looks like a squished 9. John C.

Luke: I just happened across an article written in JSSUS Newsletter vol. 30, number 1 (1998) that is talking about early (1934-1935) gunto mounts being "constructed of wood, and wrapped in a linen canvas before lacquer" (pg. 2). So maybe the same with yours?? John C.

It's more about atomic explosions and air. Air is irradiated and used to produce steel. That's why metal from pre 1945 ship wreckage is called low-background steel and is used for example to build computed tomography. BTW steel made in atomic period is used to build Geiger's counter casing? I guess Yes, so it by itself can be doing interferences :D I guess that irradiation from Fukushima was more dangerous and that there are some counters at airports to prevent sending atomic waste overseas. I thought about this when I was watching documents from Fukushima, all were abandoned as was in moment of catastrophe. Tasty JDM cars were left, all manga in shops etc.

Doesnt "new" iron contain a bit of radiation due to the present atomic age and old iron (item) pre atomic age does not?

nice one John.

@Hoshi have been using your site every day since it launched. Really great stuff. I am a software engineer myself so I appreciate having a modern implementation to use on our ancient hobby I did notice some bugs with classification of some smith ranks, like Yasumitsu for example being rated as Saijo-saku plus some others. Sorry if that's been reported already.

Nah. Just a combination of poor old polish and carpet. The kissaki and what I believe to be ara-nie behind the spider rust. John C.

I have two, because one of them is already nearly 20 years old, and I don't know how long the Geiger tubes last. Now I have a new one as well. However, the readings from the old one are still accurate.

Sukaira, It has been a while since I participated on the NMB so @Brian, please delete if things have changed. I agree with above where it was said that judging a polish via pictures is challenging. As you have it in hand, I will trust that you are satisfied with the results. That said, this was a risky endeavor. You entrusted the blade of a master artisan - assuming it was done by Taikei Naotane and has or would pass shinsa - to an amateur/unlicensed polisher. When thinking of the unlicensed polishers with the best reputation, Moses and a handful of others come to mind first, which is meant to be said with respect. They have had some level of training and as such, their work is better than untrained “polishers”. Since he is in the camp of one of the better amateur togishi, there is a chance that no damage has been done, but there was a chance that a great deal of damage COULD’VE been done. That is why I’m speaking up here. For every one example like yours that looks good and shiny, there are others where an untrained/unlicensed polisher destroys a blade. People will read this and think that they can avoid the time and cost of sending to Japan and still get top quality results, when on average, that will not be the case. The other reason I’m speaking up is because of the sword you sent. Taikei Naotane is in the list of the best Shinshinto smiths and if he doesn’t have Juyo work yet, it is simply a matter of time until he does. If you would’ve sent a showato or even a mid-range gendaito (read emura or nagamitsu level), I probably wouldn’t say anything, to avoid the almost certain backlash and conflict. But you didn’t. You sent a Taikei Naotane and in my opinion - even if this worked out well, which it’s impossible to tell via pictures - was a gamble not worth taking with what could prove to be in time a Juyo candidate. Apologies for providing a more constructive response, but even if your situation worked out well, it’s important for others to understand the risk associated with engaging non-licensed polishers.

Thanks for all the updates. Even today, many advanced collectors recommend these newsletters for beginning collectors.

Two Geiger counters? Also, did any of the tsuba develop super powers? All kidding aside, could be from natural uranium found in many types of rocks and minerals, even those used to make tsuba. Or, the tsuba could have been exposed to high levels of radon gas for a period of time. John C.

Resurrecting this necro-post as this is my first kai-gunto. Kanenami blade (water quenched, I think, due to the presence of ara-nie martensite), standard polished black lacquer wood saya, no chuso, gold washed fittings, and dark blue or black ito. The interesting thing about this one is that all of the pieces have matching numbers - just like it came from the factory, I imagine. No tassel, though. John C.

I had it tested and the inside was positive for biological material (blood). It does not have an exit hole, so it stayed in the poor chap wearing it. Average military Tanegashima had a caliber of 5/8 to 3/4", so that hot ball will smash a large hole.

I wanted to provide an update to this thread as it's the most recent one on the topic in the forum, and I just received a sword a couple of weeks ago. To be clear, this was a shipment to the USA. It was shipped by AOI Art via UPS. Here is the UPS tracking link so you can see all of the hoops it went through. It was categorized correctly as: "HS Code 9706.10 (Antique Japanese sword, made more than 250 years ago)" Then someone at UPS along the way added this "Made in Japan" notation to the paperwork: The UPS automated system emailed/texted me 3 times for my social security number, which I provided immediately via the link each time. But it just keeps doing it until their system finally applies it upon arrival and submission to customers. Annoying, but whatever. On March 4th when my government import charges were assessed, the exchange rate was 1 USD ≈ 157.11 JPY and based on the declared JPY value of my sword, I was assessed exactly a 10.83% fee. On top of this was a $40.33 UPS brokerage fee, which is a fixed tiered fee, not % based. An effective duty of 10.83% strongly suggests the shipment was processed under a standard collectible / weapon tariff category (possibly HTS 9307.00.00 — Swords and similar arms), not the duty-free antique category (HS 9706). As such, after paying online as usual to avoid further delays, I then sent the email to UPS (who knows if anything will come of it, but it never hurts to try): usspdutydiscrepancyreview@ups.com *formatting condensed to save space, and XXX used to protect the innocent :D At a minimum, I should get a response back confirming exactly what HTS classification it was actually brought in under that triggered that 10.83% charge. At best, who knows, maybe I can get the free reversed. You never win the lottery unless you buy a ticket right lol. -------------------------------------------- Dear UPS Post Entry Duty Discrepancy Review Team, I am writing to request a review of import duties assessed on the following shipment. Tracking Number: 1Z7V869VDH17427509 UPS Invoice Number: 209344XXXX Import Date: March 4, 2026 Importer: XXXXXXXXXX XXXXXXX Delivery Address: XXXX XXXXXX XX XXXXXX The shipment contained an antique Japanese sword purchased from AOI Art in Tokyo, Japan. The commercial invoice provided by the shipper declares the item as: “HS Code 9706.10 – Antique Japanese sword, made more than 250 years ago.” The declared value on the invoice is XXX,XXX JPY. Despite this classification, I was assessed XXXXXX in government import charges, resulting in a total payment of XXXXXXX including UPS brokerage and partner government agency fees. Because the item was declared as an antique exceeding 100 years of age under HS 9706, I would like to request a Post Entry Duty Discrepancy Review to determine whether the shipment was entered under an incorrect tariff classification or whether the HS code provided on the commercial invoice was not applied during customs processing. For clarity and verification, I would also appreciate it if UPS could provide the customs entry summary and the HTS classification used for the entry, including the duty rate and calculation used to determine the government charges. I have attached the following documents for your review: • Commercial invoice from AOI Art showing HS Code 9706.10 and describing the item as an antique Japanese sword more than 250 years old • UPS payment receipt showing the assessed government charges • Shipment documentation If the entry classification was incorrect, I respectfully request that UPS initiate the appropriate Post Entry Correction or refund process with U.S. Customs and Border Protection. Please let me know if any additional documentation is required to complete the review. Thank you for your assistance. Sincerely, XXXXXXXXXXXXXXXX --------------------------------------------

Alex: I give my two cents here since I have been doing some ordering from Japan. As Rohan noted, it can depend on the seller. There are options for them to ship the item having already paid the fees. On the stuff I have gotten, under shipping it usually says something like "includes all duties and fees" etc. Sure it costs more for shipping and I suspect they are charging a little more than necessary, though the transactions have been seemless so far and actually faster than USPS. I've had stuff shipped DHL, USPS Speedpak, and USPS priority mail international. John C.

The US Supreme Court decision invalidated the tariffs issued under the International Emergency Economic Powers Act. These tariffs are separate from the 15% tariff the US and Japan negotiated in their trade agreement following the issuance of the IEEPA tariffs. For now, that trade agreement stands and should continue to dictate the tariff collected on nihonto imported from Japan. One open question is whether Japan will continue to honor this trade agreement since it was based in large part on avoiding the higher (and now invalidated) IEEPA tariff on Japanese imports. @eternal_newbie is right. The situation has been inconsistent ever since the IEEPA tariffs were first announced. Shipping companies have different processes to collect tariffs (or refused shipments altogether), some sellers under-declare the value of a shipment—leading to less tariff collected, and customs agents vary in enforcement—one reason why some have been importing swords via their airline luggage. I expect all of this to continue for the foreseeable future.

The answer is that nobody knows for sure, and there will be a great many lawsuits, class actions and appeals before any of this is even close to being sorted out. Until then, it will depend entirely on whomever is transporting and selling the goods you're interested in and how they choose to respond, and some element of luck regarding which customs agent ends up processing your package.

No, despite multiple emails, UPS has been non-responsive.