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Dai - signed Harima Daijo Tadakuni - ubu 75 cm with koshirae Test cut - yamano Nagahisa cut 2 bodies in half dated Sho - signed Harima Daijo Tadakuni - ubu with Koshirae 43.2 cm Test cut - Yamano Nagahisa cut 2 bodies in half same date as the Katana Nagahisa was the most famous test cutter of the Edo period . Rare to find daisho with test cut on the same day

Hi all, Since I had some time for photos today, I thought I’d share this one as well. A mitokoromono by Sokujo, the 8th-generation mainline Goto. According to the origami, the nanako ground was made by Teijo, the 9th generation. Enjoy!

Hello, May I have your opinion on this kozuka ? It has a cloisonné enamel butterfly which leads me to believe that it is from the Hirata school. Could it be another school ? if so, which one ? Thanks

.....That is my kind of tsuba, old and rusted!.... Maybe you really don't understand? Rust is the enemy of iron. It is not a decorative feature on TSUBA, it even does not necessarily have to do with age. It is not a layer on top of the surface, it is the material itself, turned into oxide. Rust is eating up a TSUBA and should be removed or at least reduced/inactivated. If one can understand this process and has a minimal feeling of respect and responsibility towards an antique, handmade object of art/craft, they would want to preserve it in an appropriate way. This is not done fast with chemicals, it is a labour of love and care - and time. It also requires a basic knowledge of how an iron TSUBA is made, and how they are traditionally preserved and stored. Being a caretaker of an antique object has nothing to do with personal taste, it is first and foremost an obligation to learn, the more if the object is belonging to another culture with possibly different value perception and appreciation. In case you care to read about the WABI-SABI concept, you will find that Japanese appreciate objects (often of simple character like traditional household items) that show respectful, long-term use. Not neglected, not just "old". There is a form of love behind that, of deep understanding and respect. And also - perhaps - a feeling of thankfulness towards the ancestors who preserved the item so carefully. Did you know that in SHINTOISM, it is believed that handmade objects ( as well as old solitary trees, rocks, waterfalls a.s.o.) used by many hands (e.g. a good DEBA knife for the kitchen) over many years, can carry a KAMI, a good spririt who is nourished by the good intentions, respect and care of the people. When, after generations, the knife-blade is used up so that it cannot be sharpened any more, they carry the knife to a priest in the SHINTO shrine and have him release the KAMI from the knife in a ceremony. Only then the remains of the knife can be recycled. I am sorry for going off the path, but I wanted to underline that we have to accept that in another culture things may be seen differently in comparison with what we are used to. We are requested to learn and respect that. We do not need to become Japanese citizens to be good TSUBA collectors, just showing a minimal respect and awareness for what we hold in our hands.

To lighten the mood a bit, I'll tell you a story. In 1990, Dr. Sempé passed away, and his widow, fearing theft, hid his Andean archaeology collection, along with 70 tsuba and kozuka, behind a platform in their country house. Thirty-five years later, their daughter-in-law undertook renovations and rediscovered these completely forgotten collections. Naturally, all the tsuba and kozuka were corroded with numerous spots of red rust. Last Friday, I bought three of these tsuba at an auction. Here are photos of one of them before and after the cleaning I performed (washing with soapy water, scraping off the rust with bone, then lightly oiling). No corrosive products were used, of course

The Sacramento Japanese Sword Club has been given permission to re-present and upload Albert Yamanaka's Nihonto Newsletters online, which they are doing one newsletter at a time as Leon Kapp finds the time to work on the next Newsletter. It is an incredible effort and credit needs to be given where credit is due. I have managed to track down links to all the available Newsletters and will post every new one as they appear online. In the mean time I encourage everyone who downloads these newsletters to follow Sacramento Japanese Sword Club on Facebook and drop them a line thanking them for this excellent work on providing access to this invaluable resource. Albert Yamanaka's Nihonto Newsletters Volume 1 Yamanaka V1 NL01 Yamanaka V1 NL02 Yamanaka V1 NL03 Yamanaka V1 NL04 Yamanaka V1 NL05 Yamanaka V1 NL06 Yamanaka V1 NL07 Yamanaka V1 NL08 Yamanaka V1 NL09 Yamanaka V1 NL10 Yamanaka V1 NL11 Yamanaka V1 NL12 Yamanaka V1 NL12 Extras Volume 2 Yamanaka V2 NL01 Yamanaka V2 NL02 Yamanaka V2 NL03 Yamanaka V2 NL04 Yamanaka V2 NL05 Yamanaka V2 NL06 Yamanaka V2 NL07 Yamanaka V2 NL08 Yamanaka V2 NL09 Yamanaka V2 NL10 Yamanaka V2 NL11 Yamanaka V2 NL12 Volume 3 Yamanaka V3 NL01 Yamanaka V3 NL02 Yamanaka V3 NL03 Yamanaka V3 NL04 Yamanaka V3 NL05 Yamanaka V3 NL06 Yamanaka V3 NL07 Yamanaka V3 NL08 Yamanaka V3 NL09 Yamanaka V3 NL10 Yamanaka V3 NL11 & NL12

庚午秋 畫於 静修齋 Painted in the autumn 1930 at Studio of Quiet Cultivation 林肇基 Lin Zhao Ji(Painter) Lin Zhaoji Former Deputy Director, Cultural and Educational Affairs Office of the Military Control Commission of PRC. Lin Zhaoji was a native of Gutian County. He was born in 1899 (the 25th year of the Guangxu reign of the Qing dynasty) in Shanyang Village, Gutian. After the establishment of the Military Control Commission in June 1949, he served as Deputy Director of its Cultural and Educational Affairs Office. He passed away from illness in Beijing in 1962 at the age of 63.

Tsuba are art objects and old artifact that deserve to be treated accordingly. Restoration shall be done properly with proper techniques and tools. Dealing with hundreds of years old artifacts put us in the position not of owner but of keeper. We have the responsibility of taking care of objects that will outlive us to pass them down to future generation. This sentence of yours, Dan, shows that you have completely misunderstood the heart of this hobby! I suggest you to read this thread: What it is said in this post for swords also applies to tosogu. You can call me a snob now, frankly speaking I do not care! Luca

Alas, This video is very difficult to watch. Beyond the factual errors, it is representative of the lack of museum budgets for qualified curators and European decline in museum scholarship on Arms & Armor. This is not to blame the presenter. His effort is earnest, and I am sympathetic to his predicament in the society he is embedded in, it is a survival strategy. He is but a symptom of a deeper societal issue. This is a general trend, museums follow the elite taste and ideology of their donors and subsidizing government bodies. Sadly, the BM has been marred in a battle against the Woke Mind Virus and its denunciation of colonial history that renders everything it owns, hires, and does, suspect. The presenter is a product of this tension. It is an unfortunate situation, but this too will come to pass in the broader arc of history when necessity calls back for common sense. Best, Hoshi

Yes, 4-artist collaboration. Flying magpie = Tsutsui Resting magpie = Ezoe Bamboo = Baba Plum = Matsumoto (Sugimoto?) Can't quite figure out if its "auspicious day" or "spring".

I thought this might be of interest: The Kasuga Taisha Museum in Nara currently has a special exhibition titled "Appreciating Beauty of Swords", where they've got all six of their National Treasure sword fittings (along with a number of other impressive items, including several Heian-era blades and a massive ōdachi) on display. The exhibition will run until the 19th of April, and is well worth a visit if you happen to be in the area. Unfortunately photography was not allowed, but they do have pictures and descriptions of at least some of the items on their website, so here's a little preview: https://kokuhouden.kasugataisha.or.jp/en/e9/ https://kokuhouden.kasugataisha.or.jp/en/e19/ https://kokuhouden.kasugataisha.or.jp/en/e16/ https://kokuhouden.kasugataisha.or.jp/en/e14/

So a couple of weeks ago I purchased the book "Japanese Swords Sōshū Masterpieces" by Dmitry Pechalov from the Soshu-Den Museum. It has been around for a little while (since 2019) so I guess this is a post-post-post release review of the book. Let me just start off by saying... WOW!!! This is how a Sword book should be presented! The book is NOT small - in fact at 40.5cm x 30cm (16"x11.8") it is actually rather big, but let me be the first to say it - when it comes to Nihonto photography... BIG IS BEAUTIFUL! And whilst the pictures are exactly what you want in a sword photo; Massive Hasselblad super high definition images in all their glory, this is not a coffee table book. This book is serious, showing years of research and dedication to the cause, I promise you will learn a lot more than you already know and it will probably answer a lot of your questions or concerns that you had. Everyone in the Nihonto space knows, the Soshu-Den is the cream of the crop, their swords are beautiful, they are rare and generally very, very expensive - especially for the unfathomable heights of Tokubetsu Juyo and above. As such these blades are super hard to get a proper look at in person and in fact in most cases you never will. This book however gives you an insider's view of some of the best of Soshu-Den blades ever made. Every Master and sword has a significant write up that gives me massive Darcy Brockbank'esq vibes in it's detail; from the story of the Master, to the story of the blade and it's associated provenance (Not surprising really as Darcy helped and worked with Dmitry on the book for over 5 years - he even wrote the forward. Mark Sesko was also engaged for his expertise - so this book was put together by a stellar cast of Nihonto specialists.) Before I continue, let's be very clear, whilst this book is a book about the Soshu-Den, the stars of the show are the 20 swords that come from one very special private collection - and for this all I can say is... thank you. This is like being invited to a very detailed, all access private tour of an exclusive private sword club - the kind you did not know existed but when you do, you become desperate to somehow get in. To be able to see Soshu Master Blades including several at Tokubetsu Juyo in all their Massive High Definition Glory (yes these words are all capitalised) is just special. No, I will say this book is extra-ordinary. I am a massive advocate for the creation of Catalogue Raisonné for each Great Nihonto Master. But let's be clear - if/when this happens then this book is the benchmark that these catalogues will need to meet. This is how the photos will need to be presented, this is how the stories will need to be told. For the art form that is Nihonto and it's associated crafts there is just no other way around it, if we are to truly appreciate what has been created by these Great Smiths. Because let's be honest for us mere mortals this will be the closest we will ever get to one of these Japanese Treasures. So we might as well be allowed to indulge vicariously through the photographs of these beautiful slithers of steel. So I am going to say it - this is a book that you absolutely have to own as a sword collector. It is not cheap but it is so, so worth every penny you spend on it. It should also be noted that after six year this book is not available second hand and this in itself speaks volumes about this book. Once you own it you don't want to give it away or sell it. It will almost immediately become a treasure that takes pride of place in your collection. Mark my words here - a standard has been set here and this is the standard we will judge all future Nihonto books by. As such it is a very important book for Nihonto and therefore in my opinion it is an instant classic. I will read it often and cherish it but I may have to get some white gloves as I genuinely want to look after and preserve this copy of the book as best as I can. Due to it being a watershed book, and that it was so beautifully put together, I suspect it will soon enough become a collectors item as soon as it sells out. I believe @Brian said the same thing about it in his review 6/7 years ago (that one was for the Gen Zs.) In all honesty I am not sure how many Dmitry has left and I do not know if he will ever reprint this book, so... If you don't already own one - grab a copy today before you miss out - I promise you will not be sorry. I purchased mine through @Grey Doffin at Japanese Swords, Books and Tsuba but please note that the books are all shipped by Dmitry who is based in Europe and as such there will be an extra shipping fee. You can find out more about the book here: https://www.nihonto-museum.com/book Please Note: I am not paid by Dmitry or Grey and I have no affiliation with Dmitry or Grey other than I just bought the book through/ from them. Neither of them were aware of this review before I published it (I do not even know Dmitry's profile name on this site.) As such this is my own opinion and I do not benefit from this opinion other than the hope I can help get some good stuff get into hands of the real enthusiasts. As such I hope this review helps. Cheers.

秋山飛瀑 – Autumn mountains and waterfall This term is not a proper noun for a specific waterfall, but a general name of a painting motif. 庚午秋畫 – Painted in the autumn of the year of Kanoe-Uma (1990, 1930, 1870, 1810, or older?) 於静修齋林肇基 This might express the place and name of the painter. I am not sure.

Hi Dan, It’s already implied that uncited conversational comments are your opinions. Calling someone a “snob” is name-calling, and accusing others of being part of a conspiracy to benefit restoration businesses, something you’ve entirely fabricated, can be viewed as slander. In the opinion of others, you are sharing bad advice and therefore receiving pushback for it. If that makes you feel intimidated, ridiculed, berated, or belittled, that is your perception, but it does not justify personal attacks or spreading false claims. This forum is explicitly for the study and preservation of genuine Japanese swords and fittings. I sincerely hope that means we’re all “snobs” when it comes to this stuff. -Sam

Found this video by one of the curators of the new Samurai Exhibition opening this week at the British Museum and was quite excited to watch it. He starts off explaining that the British Museum has one of the largest collections of Samurai artefacts outside of Japan. Unfortunately if you visit it you would not know as the permanent collection on display is rather poor. But hopefully the Exhibition will right this wrong... Unfortunately it appears it will not. The curator goes on to explain sword history but shows only one sword but does not even mention the smith and then focuses on the Koshirae of the various periods. Kind of like the Louvre explaining French history by their choice Louis Vuitton hand bags - cause they are pretty, rather than showing the Imperial collection. I guess it is interesting for a newbie but I was left very disappointed. I fear if this is the level we are engaging for the Samurai Exhibition, then unfortunately this Exhibition will leave the enthusiast and even the general public with a lot to be desired. Nice if you like unusual pretty things but otherwise very frustrating as they continue to hide the good stuff in their warehouse. I hope to be proven wrong.

Just to balance the discourse a bit. Interesting how many inaccuracies can be presented even here on this single thread webpage and discussion about the 2004 BM exhibition which Victor curated, about what the BM owns and the condition of the swords etc etc. I shall leave it to someone with more time and energy to debunk these notions. And the person in the video …. Well, the curator is different. Just for information to all those who have been moaning and complaining…. The BM is actually one of the more accommodating state-owned museums where a person can request to study in hand their blades. I have personally done it 3-4 times and know of fellow members who do it regularly. As I have studied their top 15 or so blades several times, the urge is lesser, but they have fairly good Shinto/Shinshinto stuff too. There is a procedure to follow but it works and they are open-minded about it and facilitate personal study. So, with a bit of pre-planning and foresight, all of you could have submitted a request, planned your trip/visit accordingly and studied some of the treasures in hand. Go try that in the Tokyo National or other museums.

It's not Chinese. The document looks really weird. With a few exceptions (like the title 鑑定書), the "characters" are either completely unreadable or sort of resemble real Hanzi/Kanji, but not getting them quite right. I suspect it's AI-generated slop.

@Bugyotsuji The NBSK are an organization that focuses on promoting modern swordsmithing, and offer certifications for newly-made blades that would otherwise not qualify for NBTHK documentation (both as a way of boosting visibility for the smiths under their umbrella, and helping to combat gimei targeting contemporary smiths). They also run an annual competition similar to the NBTHK's competition, and many smiths choose to enter both of them. https://nbsk-jp.org/english/ Here are the results of last year's competition: https://nbsk-jp.org/wp-content/uploads/2025/05/15th_kekka_e_02.pdf

Dear Aaron. Welcome to NMB. You have done nothing wrong I assure you, it is simply that getting you any further forward is almost impossible. There are between forty and fifty smiths recorded signing Yoshikuni with these two kanji and while most of them can be discounted because of the age of your sword there are few indicators that might lead to an attribution. Add to this the possibility that this might be a spurious signature, called gimei, a very common thing especially with the names of good makers. However I think it unlikely that this would be the case with a two kanji mei like yours, after all why not go the whole way and sign the full mei if you want to deceive? To quote from a 2013 post by Gabriel, 'The second smith or smiths, Onizuka Yoshikuni (YOS 275-279, not clear which of these is one smith or multiple), is much closer in terms of the handwriting style, but close inspection yields several possible differences in chisel marks and angles. What is more, Onizuka Yoshikuni smith(s) allegedly signed with at least Onizuka Yoshikuni, not just "Yoshikuni" on its own. Based on these two points, I'm not certain one could connect your blade to this series of smiths based on the mei alone.' I am sure that others will add opinions, it would help to have some good photographs of the blade and its workings. Whatever the outcome it is a very attractive blade and I do hope you enjoy it. Your only certain option is to get the blade to a properly accredited shinsa team, sometimes these are arranged to coincide with Japanese sword shows in the US. All the best.

Well we were warned. https://Japan-forward.com/is-the-british-museum-rewriting-samurai-history/

I only lasted about 4 mins into the video. Embarrassing to think this the best they can do.

Hello HB, There are a few mistakes in your interpretation of the text: In your upper pic you identified (shodai) Shintogo Kunimitsu correctly. The Kanji 行 just means "leading to" and is not related to a name here. (shodai) Shintogo Kunimitsu was followed by Masamune, (nidai) Kunimitsu, Kunihiro and Kunishige (not Kuniyasu). In the lower pic the name is Norimune not Norishige, but the name is outside of the Sagami section anyway. Please note the text is structured despite of its chaotic appearance. The section about Sagami begins with "Sagami no Kuni" followed by the names of Sadakuni and Kunihiro. Next column is about (Kamakura Ichimonji) Sukezane followed by (shodai) Kunimitsu and four followers. Since this spreading of the column left some space, the author used it to fill in "Mutsu no Kuni" and Gassan smiths. For better understanding I copied the left section of sheet 2 again. I'm afraid you will find no absolution for your Tanto with the Kunimitsu mei here. Even if the text is as old as it is said, there is no guarantee the author was profoundly informed. He may just noted hearsay like many others. Anyway, the text is some fun to research. reinhard

This "mei zukushi" manuscript is a bit of a mistery to me. The first sheet is dealing with household economics of temples in Hizen and Chikuzen. Kasei in Japanese and of little interest to us. It is clearly structured and written with a subtle and well controlled brush. The second sheet however is a rather chaotic collection of "knowledge" about swordsmithing and was definitely written by another hand. It starts on the right with "Munechika Sanjo Kokaji" and ends on the left with a lineage of Awataguchi smiths. Inbetween the exact turns of the Go-Ban Kaji and another Sagami-lineage. However: It's just another collection of hearsay, no matter how old. For those of you interested in translation of old manuscripts I give you a version of sheet 2 with a few hints. reinhard

The statement of using gun bore cleaner and mineral spirits to clean Tsuba seems completely at odds with the below advice: https://japaneseswordindex.com/tsuba/tsubacln.htm

Steve, I know it seems like I'm always busting your balls but you really should try to use the resources on this forum before asking for help. If you go to the bottom of the index page there is a section called "Translating Mei" with all the Chinese characters you needed to decipher this name and date. I've taken screenshots and ringed everything for you to show you how it works. I know the dates can be very confusing but that two character name was really easy if you'd bothered to look. Best, Hector (No idea why this lettering all appears so big!)

More photos!

“…the shingane appearing is a distinctive feature throughout all of middle Aoe as the sumi hada of Aoe.” From Fujishiro Koto hen A couple of pictures from my mu-mei blade attributed to Chu Aoe Yoshitsugu by NTHK-NPO

I love this sentiment. I collect because I love the aesthetics of the tsuba, and I pick pieces that I want to look at every day. I never get tired of them, and I aspire to have so many that I too will be able to rediscover them when I go digging into my cabinets.

Hi Robert, I couldn't agree more. My earlier comment was not criticism of the focus. The factual errors that we have vehemently denounced are the product of a particular paradigm of historical analysis that focuses on power dynamics, deconstructionism, and post-modern revisionism. In this paradigm, convergence towards historical accuracy is subordinated to the greater goal of pushing novel narratives to enact society change. It is this inversion of teleology that I take as responsible for the fall of Western scholarship in our field. Or, simply put: when the purpose of scholarship shifts from "finding out what was true" to "changing what people believe," accuracy becomes optional and errors become inevitable. Hope this helps to clarify my position, Hoshi

Here’s what I believe is an Akasaka tsuba, from my collection with this feature. Thanks for creating this thread, I’ve always been curious about it. -Sam

I just wanted to add some clarity to the above statement. I found this clarification by Honma Junji regarding Kunimitsu and his tachi to be enlightening to highlight what Shintogo Kunimitsu's "inferior tachi" really means.

Kashira "Key chains" https://www.jauce.com/auction/e1218491451 I think the owls expression is resigned shock! [Can you imagine the damage caused by a set of keys rubbing against these!] Something like these saucers has been seen before: https://www.jauce.com/auction/o1189151587

I must say I am very single minded person when it comes to museums. I do focus only on weapons and little bit on armor and skip majority of amazing items in general. I do think the British Museum might have many European swords that would be to my liking even more than their Japanese items. In overall I do think the exhibition will be nice and if you live in UK or visit London during that time I might recommend visiting. I believe you can see the items in the exhibition grouped in here: https://www.britishmuseum.org/collection/term/AUTH242520 for some reason it keeps loading and loading for me so I have had to search the swords 1 by 1 from their database. It is very unfortunate how few swords of their collection have pictures online (I would assume they would be the best items) and some do have only the koshirae pictured. I cannot understand why in this modern day and age museums around the world do not document their items to their online databases. That blows my mind as they do have personnel in departments and you can take decent pictures with any 10 year old phone. The factual errors and the information about items is not told on Youtube video are some things that I do dislike a lot. It may not be on the curator but rather on the format itself as it is very fast paced. As I do think it is easy to get the feeling from the video that for example the naginata is presented as Kamakura period item while it actually is from early-mid Edo period depending on the generation of Shigetaka. Likewise it is totally absurd that this koshirae and sword is being presented as Kamakura work: https://www.britishmuseum.org/collection/object/A_1958-0730-56-a_1 Even the museum page clearly states that the blade is suriage Kanesada and for the Koshirae individual makers are identified and the koshirae as whole has been classified as Meiji period work. I do believe there are nice items in the exhibition like this Taikei Naotane wakizashi for example: https://www.britishmuseum.org/collection/object/A_1952-1028-19-a-d This daishō with Yoshioka Ichimonji and Yasumitsu blades: https://www.britishmuseum.org/collection/object/A_1952-1028-16-a-d , https://www.britishmuseum.org/collection/object/A_1952-1028-17-a-e This might be the Sukesada that Piers mentioned, unfortunately no blade pictures: https://www.britishmuseum.org/collection/object/A_1958-0730-3-a-d

I've got the printed book, but the link to the PDF is much appreciated. One of those exhibitions and publications that will become rarer and rarer, I'm afraid. Thanks!

Top picture 寒山拾得　　Kanzan-Jittoku 鉄　 Tetsu 目貫　 Menuki 壱組 Hito-kumi 濱野政随作 Hamano Shōzui-saku

I am sorry to say it but this is a Chinese fake Ian Brooks

Variant of “検” or “𢮦”: Based on its structure (扌 + 㑒), this character is often treated in dictionaries as a variant of “檢” (simplified to “検” in modern Japanese) or “撿” (rare in Japanese, more common in Chinese). Some large databases, such as Kanji Jitenon, list it as a glyph variant of “撿”. It definitely should be 検/檢 for inspected.

My wife and I just successfully exported a Edo-era Katana and a Muromachi-era Wakizashi - both bought in Japan - via a checked suitcase on a United Airlines flight from Sapporo to the United States (via Tokyo). We were extremely nervous, did a lot of research in advance, and wanted to share our experience. Sharing in case this helps others. First off, we purchased a padded gun case with heavy duty TSA pad locks to transport the two swords. This ¥24,000 that we spent on the hard case was a wonderful investment. I highly recommend Lykus brand suitcases for this purpose. Secondly, we live in Japan and processed the entire Export Certification process ourselves. If you don’t speak Japanese, or don’t live in Japan, I would highly recommend using a private service in Japan for obtaining the export certificate (most Japanese sellers seem to include this in the price of the sword). Other private companies offer export certification services (even if you don’t buy the blades from them). Doing it ourselves took six weeks from submission to receiving the certification. Written Japanese language proficiency was necessary. Other lessons learned: (1) Departing from a city other than Tokyo or Osaka made things a bit more difficult. The Sapporo check-in agents were unfamiliar with nihonto export procedures and required that we have our suitcase reexamined in Tokyo. (2) The export process in Tokyo involved two customs agents and a police officer inspecting the blades and export certification. My personal details, including residence card and passport, were copied. They applied a magnet to the blades to confirm that they were made of iron. The whole process took about 45 minutes. Bottom line: Budget extra time if traveling with nihonto. (3) Customs in Tokyo kept the original export certificate. Make a copy. (4) I was also traveling with some expensive tsuba and spare antique sword parts. We did not obtain export certificates for the tsuba. Customs did not think twice about tsuba or any of the other sword parts we traveled with. It remains unclear to me if tsuba require export certification procedures. (5) Fearing theft, I packed both wrapped blades with discreetly hidden Apple AirTags. These gave me peace of mind, but may have not been necessary. Good luck to those traveling from Japan with Nihonto!

I think it says it’s a joint work between the four people named, dated an auspicious day of Showa 7. (Rich colours. Interesting thing! ) PS I am sure there are no cracks in your walls!

Hello Steve, there is scant information on Tsugunobu available and you have most of it already. He originally signed Kaneharu and studied under Ryunsai Kanetomo, along with Tsugumasa and other Gunma province smiths. After that he became the 16th student of Kasama Ikkansai Shigetsugu and changed his Mei to Tsugunobu. He was ranked East Block Komusubi in the 1943 Gendai Tosho Banzuke list. His work (published online) isn't seen very often, if you have photos of a sword and Mei I would be interested to see them. The below is from Malcolm Cox: The following article has a good deal of information, although the lineage incorrectly placed Tsugamasa under Kaneharu: https://www.nihontocraft.com/Kanetomo.html George Trotter and Mal Cox provided the following entries from Japanese sources, included is a nice example in my collection that has a special order Mei:

Hi Guys We will be holding a small private exhibition next Saturday the 7th in Adelaide if anyone would like to attend please contact me for details. I've just returned from Japan and have acquired several excellent cutting test swords of your in the market for one please get in touch with me. Regards John 0417642921

I wanted to share with the group this interesting (Echizen Kinai) piece in my collection (with a lovely nautical theme) which has multi-tiered sekigane instead of a single piece (perhaps more distinguishable on ura). I can't say that I've seen sekigane stacked like this before, but definitely looks like this wakizashi-sized tsuba could have been mounted on a tanto given the resulting size. Damon

Sorry, but it's a Chinese Fake.

And for the tsuba Issando Joi: 一賛堂乗意 https://www.metmuseum.org/art/collection/search/25731

Not dissimilar to the first tsuba I bought. Fortuitously fits my small Senjuin katana perfectly with zero movement.

Over the last week I have been attempting to recatalog my small assortment of kozuka, menuki, and tsuba on this side of the planet. It's confusing because I have a different set of numbers at either end, and when I carry some backwards or forwards the numbers can clash, needing renumbering. There were a couple of tsuba I do not remember buying, and for some reason left no record of how much I paid. Aaarrrgghhh... While doing so though, I rediscovered several that I had forgotten, or was thinking that I had swapped out or sold. It was a joy to see them again, and to consider that years ago I had appreciated them enough to have chosen them back then. Some of them I would never sell, I realized, as they speak to me personally and it is not a question of market value. It was a delight to hold them in hand and to find new aspects or details to appreciate. Why collect these things, people ask? Well, one answer could be that as my Alzheimer symptoms progress, I will soon be able to experience the joys of rediscovery as often as there are weeks in the year or days in the week! "A thing of beauty is a joy forever." Endymion, John Keats.

Yes. We've been using "Kao" as the generic term for a smith's personal "trademark." There are two kinds, the inscribed kind, like this one, called kakihan; and the hot-stamped kind called kokuin.

伊賀守源包道 = Iga no Kami Minamoto Kanemichi

Ishido Teruhide