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Hi, Perhaps my perspective can help. I think the scientific perspective is a dead end. Why? Because controlled test conditions are impossible to create on historical swords ("too many variables that can't be systematically varied"). Research on Japanese steel and destructive testing on Google Scholar typically yield these ridiculously small sample studies, often with a no-big-deal Muromachi blade or two, sacrificed for metallurgic examination, which typically then leads the authors to make broad conclusions on Koto steel. This is over-generalization and unrigorous. At the other end of the spectrum, there is the folk-science of Masahide's testing - I am somewhat more sympathetic to his approach. Try to cut stuff, make notes. Again, very limited. End of the day, nobody is going to sacrifice a meito on the altar of a Kabuto test cutting. All in all, the fact that Shinto blades have a higher average carbon content leading to brittleness is well attested, and even today's centralized tatara process suffers from overcarbonisation, which is the most common complaint of modern smiths. But this is besides the point. If you want to understand the battle-worthiness of swords, you need to study the market, the method of warfare, and the needs of customers. This is fundamentally more interesting approach than attempting to misapply the scientific method: study the consumer demand profile and the market feedback mechanism. The market creates incentives, producers react to these incentives to make competitive products. Koto school that flourished produced in-demand swords. The main factor driving sword demand during the Koto period was battlefield feedback. Therefore, an efficient proxy for period-controlled, battle-worthiness is the popularity of certain Koto schools and maker that were in high-demand by the elite members of the bushi class. In other-words, if Oda Nobunaga or Toyotomi Hideyoshi took a liking to a certain smith, it's because the product got the job done, pretty was secondary, and they had nearly two centuries of accrued smith reputation to work with. Better, they either had first-hand experience, or second-hand experience from testimonials of their retainers or rivals. Nicknames at the time were simple and to the point: candlestand cutter, helmet cutter, etc. Collecting good swords as war booty, off the dead hands of rivals, was a competitive field at the time. What happens during Muromachi? Well, the demand profile changes. It's no longer about absolute battle effectiveness as it was during the Kamakura Golden Age, it's about getting production to be as cheap as possible to equip flocks of Ashigaru while maintaining a workable sidearm product that was used only in last resort. Different demand profile. That, and exporting swords to the mainland in high volume to quality-insensitive consumer to fund your armies. These were the early Toyotas, or the Shahed drones of today. It works and its cheap. And during Shinto time? Well, peace is upon the land, at long last. Sword smithing loses touch with battlefield reality. Imagine your arms industry producing weapons during peace time, without any adversary to provide feedback. And besides, all the people with money already have their ancestral collectible stashed away. But swords needed to be made in small quantities, this is where you start seeing hamons that feel extremely contrived, with painted tobiyaki and mount fuji impression rendered as hamon. Authorities knew this and of course a few swordsmith had access to their collections and tried making reproductions of Koto swords (Momoyama times, for instance), but it's a slow decline after that. By the middle Edo, the sword industry became so atrophied and the Shogun had to stimulate demand by providing honors and subsidies just to get some talented people moving into the field so it wouldn't completely die out, and a few talented smiths were found in Satsuma (Ippei Yasuo, etc) that genuinely stood out. Things got bad, and everyone knew it. Customers started asking for "proof that it cuts" and that spawned an entire test-cutting industry which was profoundly misguided as the test cutting was performed exclusively on naked or barely clothed static humans in a standardized posture across standardize cut angles with a strange and unrealistic weight attached on the tsuka. That certification industry became very profitable not because of the test-cutting per se, but the side-hustle of creating snake oil out out of harvested body parts. A grim and decadent practice. So Masahide walks into this dying field, realizes something is deeply wrong, and sets himself up on a journey to rectify it and go back to the "old ways". During the Bakumatsu period, one starts to see swords getting longer and more brutal looking. This was a thing in Japan, the closer to civil war, the longer and more brutal the swords got. Nobody wants to be the one with the tooth pick when all hell breaks loose. Kiyomaro cracks the Koto recipes and produce secretly Sunno-To for the Imperialist faction as a side hustle. Naotane cracks it on occasion as well, creating the closest Bizen-mono Utsushi ever made. There is a genuine effort in making functional swords again, and demand is met by the samurai population getting prepared for the inevitable showdown. Money flows into the underground markets and civil war brews. Nobody is looking for mount fuji as a hamon or a fancy Tadatsuna Horimono at that point. So what do we learn from all of this? Well, in the end, it is the desires of the customers that drive the market and product development, and the customer gets his desires from his current priorities. In the Kamakura period, this was about that solo duel on horseback against your sworn family enemy that you'd call out on the battlefield for a one on one in an effort to get his head and earn some glory for your clan. A blade severed by impact meant death and ridicule, and it made you and your entire clan look bad. And people watched and took notes. Battlefield effectiveness at whatever the cost was the goal. It was about having the ultimate weapon, the ultimate horse, the ultimate armor for those one-on-ones to grind up on the honor ladder and hopefully be rewarded by your Lord. I will skip the mongols and the effect it has on Bizen-mono, but things evolved quickly there as well as a result of pure feedback. During the Muromachi period, Ashigaru armies with cheap yari an arquebuses was the meta. No more heroic one-on-one for trophy hunting. Just bloody volleys, and once the Takeda Cavalry went down, it was the end of an era. War had forever changed its face, and demand would never be the same again. And yet, hard earned reputation during the Golden Age would persist to this day. I hope this helps, Hoshi

Since we are showing off our early documented tsuba, here is one from the Mosle' collection. This one is described as number 804. TSUBA, thin iron, with two circular perforations, shigure-yasuri-me. Unsigned work of Prince Hosokawa Tadaoki (Sansai-Ko). 32. Higo province. Plates LX-LXIV Background on the Mosle Collection “Alexander Mosle’ (1862-1946) during several stays in Japan from 1884 to 1907 representing Gruson Werke, a subsidiary of Krupp, put together the core of his collection through Amiya with the advice and teachings of Akiyama Kyusaku. Back in Europe, he exhibits his collection in Berlin in 1909 (he will continue to buy until 1920). His collection was made of about 1600 pieces among which a unique group of some 300 Goto works, a number of which had the origami issued by Goto masters in works attributed to their ancestors before they were in the habit of signing. “(from 100 Selected Tsuba from European Public Collections, by Robert Haynes and Robert Burawoy)” Mentors of Mosle’ as listed in his 1914 catalog include: Paul Vautier (put together the Oeder collection) Wada Tsunahiro (put together the Furukawa collection) Akiyama Kyusaku Ogura Soemon (Amiya) “Mosle’ was one of the few devotees who actually lived in Japan (1884 -1907) during this historic period and had through his position as armament representative to Japan from the Gruson/Krupp company and as acting consul of Belgium to Japan access to experts in his fields of interest of the highest order. He counted as personal friends the likes of Tokugawa Iesato and General Nogi and mingled with the aristocracy of Japan. From this he was able to access information rarely accorded anyone, not to mention non-Japanese, and with his scholastic mind was able to document much research in these fields. (historic information has been taken from the catalog, ‘Japanese Sword Fittings from the Alexander G. Mosle’ Collection, Mosle’ and His Collection’, Sebastian Izzard LLC, 2004).

Dear all This little hamidashi tsuba just landed on my desk as an aside in a deal with a fellow collector. Dimensions 55.9 mm x 41.4 mm, thickness at seppa-dai 4.5 mm, at mimi 6.1 mm. It is made of concentric layer of copper and shakudo. Unfortunately there is significant delamination between the layers and the center of it is a little loose. It is decorated with a design of waves with very small gold drops, the ten zogan is very well executed. Without this defect it would have been a very nice piece. I have as few questions: The it can be classified as mokume-gane even though it just a made of concentric stripes of alternating metals? A tsuba with a similar layer arrangement in the collection of the Ashmolean collection is classified as mokumegane (https://jameelcentre.ashmolean.org/object/EAX.11192). Based on the design, workmanship and the use of mokumegane to which school it can be attributed? From a cursory research mokumegane was used by the Akita Shoami artist Shoami Dembei or by the Takahashi school (高橋派) a branch of the Edo Akao School. Any information is welcome, thank you in advance. Best Regards Luca

As part of the Golden Week display of Sanchōmō they were running a shuttle bus today to the old Nakazaki-Tei in Fukuoka Village next to Osafuné. Spread over three rooms were a display of Koshiraé (no blades), a display of Tsuba, a case full of Tōsōgu, and a display of Bizen guns and accessories, etc. The latter was my alotted corner. Not expecting anyone to visit our humble exhibition, I was surprised to see more than fifty people come through during the day, from all over Japan. What pleased me particularly (apart from the obvious interest shown by the visitors) was that I was asked to provide some Koshiraé, and everything I had brought with me got added to the display. Seven Koshiraé! This is the very first time that my pieces have been considered worthy of their displays. No negative comments, all silently accepted. Made me all warm and fuzzy inside, it did.

I was wrong…..they did thank us!…..

This one sticks in the memory from a dealer’s fb page a few years ago. T’was beyond my means, but I still think about it occasionally. Hats off to whoever picked it up.

Hi Bruce, the full inscription reads 夛賀大明神 - Taga Daimyōjin and the blade was made in the mid 1930's by Kojima Kanetoki.

Long time between examples - https://www.jauce.com/auction/q1228610297 Anyone seen a tsuba on a tsuba on a tsuba?

Here was the original before polish

Today I had a chance to see it again, luckily at a time when there were fewer visitors, so I tried some different shots. A B

Alex, I absolutely share your opinion. Coming back to the title of this thread, I am often more impressed by the inherent craft in a TSUBA than by its artistry. I can admire the work in a gorgeous and opulent 19th century KINKO TSUBA, but for owning one, I would choose a genuine KACHUSHI TSUBA with a well-made DOTE MIMI. But they are no longer underrated and now sold for big money!

Just wanted to share this for anyone looking at Moses for polish - I recently received back a Taikei Naotane that was originally polished by a very elderly togisihi in Japan that had many problems. Finger stone marks left, hazy ji, a very scratchy surface etc. Now it looks incredible to say the least. The pictures do not do it justice, but I would highly recommend Moses. These pictures are very much a blue tone as his camera white balance must have been on the cooler side, but to the naked eye in real life, the hamon has a beautiful shade of light blue to it.

Hi, Mr. Erik, thank you for your warning. In fact I just recently (last week I think?) helped a friend I met online a few years back, to identify a tampered NTBNK paper with a swapped photo. It's even got a stamp on, so a little more sophisticated than the ones shown here, understandable since that sword cost him more than 10 grand. A phone call to NTBHK's 台帳照会 line ( https://www.touken.or.jp/shinsa/syousyo.html, the one we use to confirm the authenticity of paper) confirmed my suspicion, and on the phone, the NTBHK staff and I talked about the Yasurime, the position of Mekugi-Ana, Mei itself, and many other things, all mismatching from their records. Although it's not very secure just talking over the phone to say the photo is swapped, so the staff suggested a mail address to me. I sent an email to them with photos of Nakago and paper, they replied in two hours to confirm that "it's very likely a paper with swapped photo", since the safest way is to physically mail them that paper, or bring them the sword with it, not very practical here in PRC. Anyway, he has to deal with that person sold him this counterfeit sword now, and hopefully he can get his money back. Buying straight from reputable Japanese stores could save one from these troubles, but apparently here in PRC shady scamy independent semi-illegal dealers trading over WeChat (and scamy "official" large-scale local stores I might add) are all the rage now, so all bets are off. Hard to sue someone scamed you if you are buying somewhat illegal? stuff from them, naturally.

And D E F

Thanks for your articles Alexander . The thought that items that I now own have passed through the hands of previous collectors ,who have also treasured them , has always interested me . One minor correction. In your article on Walter Behrens you perpetuate the myth that Henri Joly was Belgian . He was born on the 24th of Feb 1878 at Chartres France . His 1901 and 1911 census entries confim that he was French . The attached tsuba is one of two I have that were once part of Henri Joly's collection .

萬延元庚申年日 – Man’en 1st Kanoe-Saru year (1860) 鈴木鉄造典直迮之 – Suzuki Tetsuzo Norichika/Norinao made this.

Just a few pictures from the show. This was from Sunday. Saturday was much busier! As always, Mark and family put on a great show! Lots of great items to see and had the chance to meet up with old friends.

Latest Yamanaka Newsletter has dropped: Yamanaka V4 NL 11 & 12

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.

蓋同銘中・無出典在者 Not sure of the red, but my guess is that the meaning is "The meaning of the phrase on the tsuba (also noted on the lid) is unknown" (not listed in any published resources). Edit: Hmm, rethinking this, at least the 2nd part. The phrase 忠則盡命 is known (devoting your life to your lord). A reference to a Chinese classic, Thousand Character Essay (孝當竭力，忠則盡命).

Some general shots of the place. A B C

As per previous advice, kick up a HUGE storm. Email everyone from the CEO down. Emphasize that this is a unique, one of a kind item and is a cultural item, and that you are going to have to warn Japanese dealers against using USPS. Ask them who you put down as the person to contact since you will be opening a case with the police. Remind them that the Nihonto community is close, and that there have been a spate of these lately. Really go all out. It is my personal experience that the more you shake up the guys at top, the more change the item is "suddenly found" You have nothing to lose.

bit better image from Brit Museum Find it here: https://www.britishmuseum.org/collection/object/A_1952-0211-42 One for sale with papers? https://world-seiyudo.com/product/tu-070924/ The rotund guy has a slightly terrified look. May have sold? https://www.seiyudo.com/tu-070924.htm One "tsuba?" from the British Museum that probably shouldn't be there! https://www.britishmuseum.org/collection/object/C_2003-0909-2

Just a short follow up, I agreed with Samurai Museum Berlin to display the blade for two more years (until June 2028) in there so that you all have the chance to see it .

Suishinshi Masahide had a message - Edo period and everything associated with it was bad, it was better before and way better in late Kamakura. That was not unusual thinking towards Bakumatsu, whether the subject was economy, governance or sex life. How realistic is it when applied to swords is difficult to say. Overall Japanese ones are much harder than European and conversely are very prone to chipping. Great cutters with exceptionally short lifetime. You can chop a dozen iron nails with a saber and all you are going to get is the edge being shinier in places. But saber is not going to do nearly the same damage as Japanese sword. If what you want is a cut from above against say human target, I would go with shinto. More consistent steel content and grain size distribution. More weight for the same size is not going to hurt you but makes the technique more forgiving. Will shinto be more prone to fatal damage under such conditions - this is not my experience and I have an issue finding any concrete evidence confirming it is so. Early soshu is just as hard at the edge as Sukehiro. But early Soshu was battle proven... Its a big statement with not a lot of known quantities. Battle proven (very) often means we have X money, Y people and therefore we are going to make the weapons to fit the bill, nevermind all other considerations. Or it can mean we have one guy who survived a famous encounter 20 years ago and we continue making weapons according to his vision, until 20 years later people start believing in something else... And if you are an actual weapon designer, being guided by soldiers is not going to yield a fantastic weapon. There are many reasons, including soldiers not realizing the tradeoffs between performance, reliability, cost and manufacturability, while navigating those is the key to being great weapon designer. A LOT of them will have memories of the fighting itself distorted to the point of being completely unrealistic. Or driven by a single event which drove them nuts. So you are looking for a feedback of someone experienced, intelligent, calm minded, objective with knowledge of how the technology works. How many such people exist, especially since everyone who really fights rather than participates runs the risk of being killed which if not 50% then at least 10% Back to swords, frankly speaking they all have nearly the same effectiveness, +/- 15%. Its not the kind of technology or environment where you kill 100 people and then elaborate on how it felt with say Bizen versus Soshu. In this case, "fashion" becomes important. Somebody with influence likes o-kissaki - everyone tries to copy and be cool. Then another guy says - its all hubris, traditional sugata is better, and in 10 years - nothing changed on the battlefield but we are back to shapes from 100 years ago.

It’s signed Nobumasa and dated October 1943. There is a stamped “80” and also potentially a “na” stamp on the mei side. You should add "NLF" to your username - "NLF Swords.” You still throw that term around in literally every translation request you post even though it’s incorrect. These are Army swords….

Great show and thanks for organizing it! I have not been able to participate for two years and the experience was exhilarating. I hope everyone in the field gets to enjoy a show like this at least once.

Kudos to you Colin, and to them for actually listening. A small victory, but a victory none the less.

If you look for GURI BORI, you will find the same technique that is used for MOKUME GANE. It is a very nice little TSUBA! Perhaps a goldsmith who is familiar with TOSOGU can solder the fissures without it being too obvious? MIssing Ford and his competence here again.....

蓋同銘中無出其右者 (Kedashi domeichu sono migini derumono nashi.) – Perhaps, among the works with the same mei, it is second to none. As for “盡忠則命” on the box, I think that we do not have to be too bound by the word on the box. I guess that the order of the kanji was Kanzan’s own understanding only because he did not know the original four-character idiom 忠則盡命. The attached article was written on the premise that the word was 忠則盡命. Ref. 忠則藎命図鐔　銘　三信家

The percentage of ones fully forged, folded and with decent hamon are a very small percentage of the total seen, and when you see them, they are usually in shirasaya or apart from average kozuka. Yes, of course they exist, but look at the way yours is signed compared to the usual "chicken scratch" type mei we see on most. Now show me one like yours in full polish in that condition that is original to an average kozuka and mounted that way from the Edo period? Again, they exist, but best to always consider them gimei until proven otherwise. Once you see a hamon with nie and hataraki, you can start looking closer at the mei.

Alex, I absolutely share your opinion. I am an 'iron guy', but to my surprise, in some cases, a little gold does not hurt. The below shown typical TEIMEI TSUBA (one of the "underrated" styles/schools) has a fine gold decoration which is rarely seen on these. How do you find that?

#1) Bushu - there is a lot of low end Bushu, hiding the fact that there are some very high end Bushu #2) Ko-kinko - same as above. There are low end ko-kinko worth $100, on up to high end ko-kinko worth $45k The wide spread in values of certain large groups results in a propensity to value some exceptionally fine tsuba downwards towards the center of the bell curve.

This example from a still active company with hundreds of faked/copied designs, operating out of Osaka https://www.jauce.com/user/9sBuThXpTqPVk2Hk6fEs19XhMiFkU?&search=tsuba&n=100&page=1 I did toy with the idea of doing a catalogue with the fakes and the original piece they are based on - but it might end up being a very very thick book!

We’re excited to announce that Touken Takarado will be exhibiting at the Japan Art Fair Utrecht 2026 Join us in Utrecht, Netherlands from June 12–14, 2026, where collectors, dealers, and enthusiasts from around the world gather to experience exceptional Japanese art, including samurai swords, armour, and antiques. We look forward to meeting you there. For more information: https://www.toukentakarado.com/Japan-art-fair-utrecht-2026-1 Official event website: https://www.japanartfair.com/ If there is anything you would like to specifically request for us to bring that is listed on our website, please do let us know and we will try our best to meet your expectations. Sincerely, Nicholas Fu Touken Takarado

Appears that they have been withdrawn. I was a bit blunt in what I said……so best we don’t expect any thanks🙂

I am unsure about the second line. It might be an address? 祈願武運長久 – Pray for continued luck in the fortunes of war □□□□□□□ 谷口幸雄 – Taniguchi Yukio 二十二才 – 22 year old

Just to be noted those are my personal take on things and the correctness of it is up to debate. Just that lot of sources have slightly varying information. I have been wondering about the Mihara smiths too, as it is very rare to encounter one that would have been attributed to late Kamakura by authorities. Of course dealers will tout Ko-Mihara attributed blades as late Kamakura items, and I admit for many mumei swords I have personally late Kamakura - Nanbokuchō as the range. The different generations might be bit varying from book to book. For example for Ko-Mihara Masaie there are 7 different one in Nihontō Meikan and 5 in Sesko Index. For Ko-Mihara Masahiro there are 3 different ones in Nihontō Meikan and 2 in Seskos. Here the notable difference is that Meikan has 1st Masahiro working roughly 1320s to 1330s while in Seskos the first gen is listed c 1360's. There are actually few items that are attributed to late Kamakura Mihara Masahiro by authorities. However all dated items I have found by Ko-Mihara smiths so far are from Nanbokuchō to Ōei. Range is 1353 to 1415 among 15 dated blades. Then you have Kokubunji Sukekuni at late Kamakura, for him there are few dated blades ranging 1323 to 1329. Then for Hokke Chikatsugu has 1352 dated blade Kaneyasu has several blades 1369 and 1370 There are 5 other dated Hokke blades by various smiths ranging 1367 to 1390 For Ichijō I have only found 1411 dated blade And one 1459 dated ōdachi by 2 Hokke smiths Then there is Tatsubō school in Bingo province And for them I have 4 dated blades ranging 1365 to 1373 Here is one problem that I am not sure about, I am not sure if the attribution Hokke Ichijō (法華一乗) is referring to one smith/lineage or a larger group among Hokke smiths. And of course attributions are attributions they need to throw out some fitting classification bracket.

A charming Edo period (Shoami?) tsuba. The motif is tea ceremony (chanoyu) represented by the following utensils: chawan (tea bowl), chagama (kettle), chasen (tea whisk), hishaku (laddle), chaire (tea caddy), habōki (feather brushes used to smooth out the ash) and hibashi (iron chopsticks for handling the charcoal). I am not sure what the flower-shaped object in the lower left corner is... maybe the lid of the chagama? A kōro (incence burner)? Any ideas? I'll get measurements later $150 (HOLD) plus shipping

Hello all, I recently visited the samurai exhibition at rhe British Museum. Although the actual exhibit was only okay, this tsuba did stand out to me and to put it in simple terms - it made me happy and smile, so I think I've found my new favourite genre of tsuba. The exhibit didn't go into detail about the tsuba, just that it was "a tsuba, late edo" so I'd like to find out more about it if possible to direct me towards similar examples on the theme. Anyway here it is, apologies for the terrible photo quality it was the best I could get in low lighting behind glass. I just love that it's a fella exclaiming enthusiastically at a cat or racoon dog shaped teapot because it's exactly how I'd react, to both the tea and the teapot! Rob.

On the wakizashi, 國安 - Kuniyasu

勝正 - Katsumasa

I was just at the 2nd phase of the Jubi exhibition at the NBTHK museum this week, and it was quite a treat to see so many Kamakura era ubu zaimei tachi. The standout to me was the 96.3cm signed Tomonari tachi below: There was also a Norishige tanto with a gorgeous jigane, but it was was odd that the mekugi ana were both punched straight through the characters of the mei: There was also a Tsunahiro hirazukuri wakizashi with a flamboyant hamon: And also a Masamune, which I honestly didn't find to be that outstanding: There were lots of koto blades with prominent utsuri, such as this Muneyoshi: And a few blades had the hamon on the kissaki running very close to the edge: One very interesting sword to me was a Kaneyoshi that was signed and dated both on the same side of the nakago:

極月Gokugatsu= The last month of the year (December).

I know an Ichimonji with 8 mekugi-ana. Thats the most I've seen on a blade.

Hi, for sale is a wakizashi in mountings from Nankai Tomotaka. About the smith: TOMOTAKA (朝尊), Tenpō (天保, 1830-1844), Yamashiro – “Tomotaka” (朝尊), “Tomotaka tsukuru” (朝尊造), “Yamashiro no Kuni Nishijin-jū Tomotaka” (山城国西陣住朝尊), “Tosa no Kuni-jūnin Gonnokami Tomotaka” (土佐国住人権守朝尊), “Nankai Tarō Tomotaka” (南海太郎朝尊), “Morioka Tomotaka saku” (盛岡朝尊作), “Yamashiro no Kuni Hataeda-gū Tomotaka” (山城国幡枝寓朝尊), Tarō Tomotaka tsukuru” (太郎朝尊造), “Ichijō Horikawa-jū Nankai Tarō Tomotaka” (一条堀川住南海太郎朝尊), real name Morioka Tomotaka (森岡朝尊), “Nankai Tarō” was his pseudonym, he was born in the third year of Bunka (文化, 1806) in Kuroiwa (黒岩) in Tosa´s Takaoka district (高岡郡), he signed his name Tomotaka first with the characters (友朝), during the Bunsei era (文政, 1818-1830) he moved to Kyōto where he took care of a later generation Iga no Kami Kinmichi (伊賀守金道) and supported the court noble Chigusa Arikoto (千種有功, 1796-1854) in forging swords, during the Tenpō era (天保, 1830-1844) he worked temporarily also in Edo´s Yushima-Tenjin (湯島天神), Tomotaka was a follower of the fukkōtō movement and on par with Suishinshi Masahide when it comes to the theoretical aspect of the Japanese sword, he wrote philosophically-inspired works like Tōken Gogyō Ron (刀剣五行論, “The Five-Elements Theory at Swords”) or the Zōtō Shinki Hō (造刀心気法, about “The Integration of Emotions at Forging Swords”), but he also compiled oshigata collections like the Shintō Meishū Roku (新刀銘集録), he died in the second year of iō (慶応, 1866) in Kyōto at the age of 61, we know date signatures from the fifth year of Tenpō (1834) to the second year of Genji (元治, 1865), there are katana, wakizashi and tantō extant, some also in kanmuri-otoshi-zukuri, his blades have mostly a magnificent sugata with a wide mihaba and an elongated kissaki, Bizen-style blades have a more elegant sugata with a relative short nagasa, his hamon is mostly a ko-chōji-midare in nioi-deki which reminds of Ōei-Bizen, sometimes also an ō-midare, hitatsura, or suguha in nie-deki is seen, when he worked in the Yamashiro tradition, he hardened a chū-suguha in ko-nie-deki in combination with a beautifully forged masame mixed with ko-mokume, in rare cases he also hardened a hitatsura, some blades show elaborate horimono, the signature is quite angular and he also signed with an additional kaō, jō-saku This Wakizashi is made in Bizen-den style and was made in Bunsei 13. Signature is: heian kujo-ju tomotaka. Measurments: Nagasa: 45.2ｃｍ Sori: 1.3ｃｍ Moto-Haba: 2.84ｃｍ It comes with Mountings, Bag and Tokubetsu Hozon Papers. Price 3000 Euro (including shipping inside EU) For offers or questions please send me a PM, Thanks Oliver

Here's a significant find - A sword surrendered by Capt Endo in Borneo with a purple cord wrapped through the haikan. Note the photo. The cord was there when he surrendered it! Hard to see in my photo of a photo, but it can be clearly seen wrapped just the way it is, in hand. Owned by @Ian B3HR2UH Ian Brooks. The photo is taken from a video of the surrender which shows the cord in place must better. In the future, I won't be dismissing such cords so easily when they show up on gunto.