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Hi everyone! I’m new to the forum and wanted to briefly introduce myself by sharing a recent acquisition - my first in this space. I’ve been studying nihontō for some time, with a particular focus on late Muromachi work that prioritizes functional integrity, honest construction, and historically grounded workmanship over overtly decorative tendencies. I’m not obsessed with excessively showy hamon, but I do value how all aspects of the blade appear and balance. You will understand what I mean when you really zoom in on the image of the blade. The katana I'd like to share is a signed and dated Bishū Osafune Sukesada katana, saku, forged in Tenshō 3 (1576) and certified NBTHK Hozon Tōken. It is a late Muromachi uchigatana-form blade and represents the Sue-Bizen tradition at a moment when Osafune production was operating under sustained wartime demand. This one is ranked Jō Saku. I was specifically looking for a blade that met several criteria including: A clearly documented Sengoku-era date. A form appropriate to infantry combat rather than earlier tachi conventions. Workmanship that remained firmly within classical Bizen-den practice rather than later Shintō reinterpretation. The blade measures 67.4 cm nagasa, with a wide motohaba, firm kasane, and moderate sori, proportions that read immediately as purposeful rather than exaggerated. The jihada is itame mixed with mokume, with visible utsuri that is consistent and legible under angled light, something I consider essential in pre-flood Bizen work of this period. The hamon is a gunome-midare in nie-deki, active but controlled, favoring durability and coherence over flamboyance. The bōshi enters the kissaki in a continuous midare-komi that holds together well at the point. The nakago is ubu, with two mekugi-ana reflecting long-term use and remounting rather than shortening, and carries the full inscription 備州長船祐定作, paired with a clear Tenshō 3, 8th month date. Both the mei and nengō were accepted without reservation by the NBTHK. I was particularly interested in a dated Bishū signature, as I regard dated Sue-Bizen work as occupying a materially different category from undated mass-output blades, both in intent and quality. Historically, the blade sits in a narrow window that I find especially compelling. August 1576 places its forging immediately after Ukita Naoie’s consolidation of Bizen and only weeks after the First Battle of Kizugawaguchi. This was not a transitional or speculative period, but a moment of active mobilization, when swords were commissioned with the expectation of use. The blade’s geometry, heat treatment, and overall character align with that context in a way that feels honest. – I’m an obsessive history geek if you can’t tell lol. The koshirae itself represents a coherent mid-Edo period remounting, with the tsuka, tsuba, and primary fittings conceived as a unified aesthetic program rather than an assemblage of unrelated parts. The handle fittings are signed by Maruyama Sōzan, an Edo-period metalworker, and display a consistent visual language across the fuchi, kashira, and menuki. The rabbit (hare) menuki are rendered in a restrained, naturalistic style with selective gilt highlights, emphasizing quiet alertness rather than overt martial aggression, a sensibility characteristic of refined Edo tastes. This motif is deliberately complemented by the iron sukashi tsuba, whose rotating tomoe-derived design expresses cyclical motion and natural force in abstract form. Together, the animal imagery of the tsuka and the dynamic, elemental symbolism of the tsuba form a balanced thematic whole, power expressed through harmony rather than excess. The matching materials, colors, gilt, patina, fit, and composition strongly indicate that these components were produced within the same artistic style and likely by the same hand or workshop, assembled intentionally as a complete Edo-period mounting rather than through later mixing. - All this was another big selling point, personally. This coherence underscores a later owner’s discernment, preserving the Sengoku-era blade within a thoughtful and unified Edo presentation. I’ll be adding an appropriate silk sageo, which is missing. Attached are some of the only photos I have so far, as it's currently pending the export permit. I’ll be absolutely stoked beyond belief when it arrives! The forum size limits are far too restrictive for high-resolution images, especially of the blade, so I'll link them from my OneDrive: 25445paper-1.jpg 25445-2.jpg 25445-4.jpg image 001.png image 002.png image 005.png image 006.png image 007.png image 008.png image 010.png image 011.png Anyway, it’s great to meet everyone and join the forum, and I look forward to learning and sharing! I'm not a collector per se, more of an admirer of the art, skill, and a history buff. I don't see myself buying another one as this ticks all my boxes already. I'm going to have it on display in my living room and I'm writing a full-color coffee table book on the sword to print. It will be an absolute honor and privilege being the caretaker for this nihontō and Japanese history. - Alex

Hi all, Just like to share my recent acquisition, a unique Mitokoro-mono by the 5th generation mainline head of the Goto school, Tokujo. He was the eldest son of Kujo, born in 1549 and passed away in 1631. After serving Oda Nobunaga, he became the court chisel master for Toyotomi Hideyoshi. Exhibited at the Tokyo National Museum. Enjoy!

Konichi Wa. Sundays are for sword cleaning 🫧🧽. Many North American antique collections are found in poor condition due to the lack of awareness on what it takes to keep steel pristine - following the ritualistic cleaning of swords by our predecessors. Pro tip: use a mineral oil specific for carbon steel, like for example Yoshishiro brand oil; it protects the blade and other parts of the steel from rust. Mineral oil is colorless, odourless, and you should regularly clean your blades depending on how often you are studying/exhibiting them. As a rule of thumb I will maintain mine every two to three months, as that is how often our Toronto Token Kai (Sword Club) meets, where I serve as director. I begin by wiping the old oil with a microfibre cloth, and then use rice paper to apply a thin, fresh layer of oil on each sword. This method ensures that the artifacts in our care are preserved for future generations. I also commit to this process out of respect for Japanese history and as a meditative practice. These swords left the battles long behind, and the onus is on us to preserve them for their eventual return to the shrines of glorious Japan. 🇯🇵

Dear fellowship, First of all - best wishes for the New Year. Secondly - my latest and newest acquisition that found its way into my modest collection through an item exchange between a collector friend and my self. Iron Tsuba, 8,5 cm x 8 cm x 0,5 cm, intricately carved, open work and with different inlays of metal spanning gold, silver and copper. Mei: “Kosyu Hikone Jyu Mogarashi Nyudo Soten Sei” (earlier translation by: Kazushige Tsuruta - who believed the signature genuine in 2015 - judged from photographs by previous owner). My photographs are NOT in any way professional sorry… Any comments are as always welcome. /Soeren

前田泰宏 - Maeda Yasuhiro

I had a very positive experience purchasing this Nihonto from Jake. Communication was clear and professional throughout, the sword was exactly as described, and shipping and packaging were excellent and done with care. I would not hesitate to recommend Jake to fellow collectors looking to buy a Nihonto.

靖國神社謹畫 – Yasukuni shrine respectfully paints. 靖國奉賛會美術部謹製 – Made by the art department of Yasukuni shrine support association

Yes, there was a Koshosen Nagaharu Kinko around Bunkyū, who was Shuei of Kyoto Gosho.

Tsuba signed « Ichiryu Tomoyoshi » – 一柳友善 Late Edo Ichiryû – Mito school Kinko Meikan rank : Ryoko / Joko This beautiful katana-sized tsuba is made of shakudo embellished with gold and silver accents, on the theme of the unryu dragon. The work is very fine and of high quality, with a beautiful relief and many details. 7,9 x 7,4 cm 2500 €

Yes, that is one of the crude theories, but it is ridiculously unlikely when you think about it. I am working scientifically on this TEKKOTSU subject and hope to be able to present results in the near future.

The oshigata system was used until photographs became standard. They switched to photographed nakago in the late 90s.

My Tomita Sukehiro is a sword with a flamboyant hamon. It has some scratches and would benefit from a polish. However there is a lot to be enjoyed without. Date: koki ni sen roppyaku ni nen gatsu (1942) Nagasa: 68,58 cm Sori: 1,27 cm Sukehiro was trained by his grandfather Kato Sanekuni and worked as a Rikugun Jumei Tosho during WW2. He was rated 1 million yen. This sword is in need of a New home. It is priced at €2100,-

Thank you all very much for your help - This truly is a weird guard [I have shown it long ago] It has two "prongs?" that project out in front like european sword breakers - just weird, so right up my alley

@anguilla1980 As much as we like to romanticize the koshirae of a blade. You will find out yourself eventually that it is next to impossible to theorize when or how many times a blade has been remounted. It could have seen several dozens of remounting for all we know Furthermore, koshirae are put together and thrown on a blade by dealers to boost appeal ALL the time. AOI is esp good at this. And I am far from being considred knowledgable when it comes to fittings but at a glance, it looks like the ito and samegawa are relatively new. The ito in particular was not done by a skilled tsuka maker and this can be seen by the unevenness of the diamonds. We also dont know about the origin of the saya and personally , I would never recommend puting a blade into a dealer saya. A proper saya is always custom made to a specific blade and we dont know how or where it s contacting the blade. My Kiyomitsu came with a Koshirae and I would never in a million years attempt to mount it on the blade. https://eirakudo.shop/token/wakizashi/detail/319916

On the right, I guess 幸照撰 – Koshosen?

5-3 Kiri Mon. After derusting I discovered that each paulownia ‘imprint’ is carved out in fine detail, not merely stamped. Three on front, two behind. Detail

Due to the great age of the engraving, many of the characters are no longer very clear. I can only make out some of the Kanji, and even those may not be entirely accurate. 勝字八 萬曆癸未八月日 1583年8月 勝字小（藤）？五（斤/近）士 匠山守 （藤）？五錢 丸五 About 石火矢 Ishibiya According to 武用辨略 Buyō Benryaku, in 1551 (or 1576 according to 豐薩軍記 Hōsa Gunki), 南蠻人 Nanban foreigners presented ishibiya to the 大友家 Ōtomo clan, and 大友宗麟 Ōtomo Sōrin named them 國崩 Kunikuzushi. Regarding this event, 武用辨略 Buyō Benryaku gives the following account: In 天文Tenbun 20 (1551), a Portuguese ship anchored in Bungo fired ceremonial salutes toward a church. The tremendous explosions could be heard at Funai Castle. Alarmed, Sōrin and his retainers went to investigate. Thus, eight years after small firearms had been introduced in天文Tenbun 12, cannon arrived in the 大友 Ōtomo domain. Overjoyed, 宗麟 Sōrinnamed them 國崩 Kunikuzushi. Because these guns fired stone projectiles, they were also called 石火矢 Ishibiya, a term that continued to be used into the Edo period. In Sengoku-period records, the term ishibiya is almost always used. For example, descriptions of the ironclad ships built by 織田信長 Oda Nobunaga mention 石火矢三挺 “three ishibiya.” Judging from surviving materials concerning 國崩 Kunikuzushi, the石火矢 Ishibiya introduced by the 大友家 Ōtomo clan were in fact a type of frankish gun, also called 仏狼機砲 futsurōki-hō in Japanese. This has already been explained in detail in my article “Ancient Japanese Long-Range Weapons” and will not be repeated here. As for the 石火矢 Ishibiya imported by the 織田家 Oda clan, historical sources do not clearly record their country of origin. However, during the 安土桃山時期 Azuchi–Momoyama period, Portugal was Japan’s principal trading partner, and 織田信長 Oda Nobunaga himself maintained close relations with Portuguese missionaries such as Luís Fróis. It is therefore likely that most of these weapons were imported from Portugal.

I will in fact *NOT* be using Brasso or Brillo pads. I'll leave it to Woody to give it the correction/care it deserves

There is a timeline problem with the attribution of item number 4. Kozori is actually quite specific attribution time wise and it is for late Nanbokuchō to early Muromachi. So if the sword would be late Muromachi as it would maybe seem to be, then it couldn't be considered as Kozori work. For mumei unremarkable Bizen stuff from late Muromachi I would feel Sue-Bizen would be the grouping I would be most comfortable with.

Yves, this is called TEKKOTSU (= "iron bones"). It is a special feature of some TSUBA makers or schools. There is some discussion about what it is and how it is done. Unfortunately, most writers have no metallurgic background and try to approach the subject from the aesthetic side which does not lead far. Your TSUBA would be classified as HEIANJO style, in this case an earlier one with HIRA ZOGAN technique (flat inlay), most of which is still present. There are information that some TSUBASHI working in that style did not make the TSUBA plate themselves but bought them from more specialized smiths to decorate them afterwards. This may be the case here. Attached is an image of a HEIANJO TSUBA with another decoration style.

江府住 - Efu ju 正之 - Masayuki 正義 - Masayoshi

Just want to share.. I took a gamble and picked up this sword a few months ago from the son of a WW2 veteran practically sight unseen. The vets son told me the sword has sat in the closet since he could remember. The sword is signed 士魂明督之作 Shigon Akisuke No Saku and dated 1945. A smith I’ve never heard of before nor have I seen another sword made by this smith. The polish and fittings are in excellent condition. The hamon is flamboyant the jigane is tight. any comments are welcome.

I was reading the way it was written on the tang. Here's some info from Sesko: AKISUKE (明督), Shōwa (昭和, 1926-1989), Tottori – “Shikon Akisuke” (士魂明督), real name Yata Monji (矢田門二), born August 26th 1899, he was working as a swordsmith from about 1942 onwards, the prefix shikon (士魂) means “Samurai spirit” (see picture right) John C.

Congratulations on the acquisition! You can look at it for a long time, like a painting. I really like that works of the Soten school look great as standalone pieces.

That picture of yours is stunning Kirill. When you combine high quality sword and high quality photography the result is amazing. I've been on a good roll on NBTHK monthly kantei but I must admit my real kantei skills suck. As I've been doing it for several years it is easy to catch some pointers that they sometimes use, had to check that I got that one correct. For example "The hada is visible and is a unique hada" in their English description points to zanguri. Usually that is pushing it to Horikawa and for 2 character signature I think Kunihiro is the logical answer. For me this is book knowledge that I have, in real life I could not say what is zanguri hada, as I don't have too high real life kantei skills. I saw this ōdachi at Nagoya Tōken World last summer, and it is my favorite Owari sword: https://www.touken-world.jp/search/127485/ maybe massive kissaki and strong width might hint that sword in OP could have been originally a big one like this one. Of course as I like ōdachi that would be my wishful thinking. I have seen the even larger 1620 dated Kanetake ōdachi at Atsuta Jingū few times but I don't like that much maybe as much. So far I have not yet seen the shorter Kanetake ōdachi of Atsuta Jingū, maybe some day I will. Of course NBTHK might have more than likely the most probable outcome. I just personally would wish they might have had more general attribution, like mumei Owari - Keichō-Shintō etc. Of course that is their style to go for direct attributions for specific smiths, I don't personally like that but I understand how that is what people actually want. Most would be probably very disappointed in just general attributions that would state roughly province and time period. Big thanks of all the comments and discussion, it is really much more fun to have discussion than just think about all the things alone.

There are quite a few familiar faces in this excellent NHK World feature in which @Keichodo has a starring role. View it here.

Many other good reads like this can be found. It seems to boil down to superstition, and the practical side of my brain agrees that especially during a time of ongoing war, swordsmiths probably didn't suspend production of blades from March through July because they weren't "lucky" months. The overall distribution of nengo on blades does show spikes in February and August and I'd suspect it was more to do with lucky numbers and superstition than when the blade was actually quenched. You'll rarely see a blade with the 4th month on the nengo written 四 because of its connection with the word for death. You will see 二二 instead in many cases.

Today I found another example of a 'hanaire', still attached to a kinchaku purse. Thanks to this thread I recognized it as such (Jean!) and we can clearly see which himotoshi hole(s) was/were used for the himo cord. The other holes look decorative... except that on the back this one has a tiny slot as if to hang on a peg or a nail. Bamboo (stag antler) Hana-ire hanging wall vase container. Behind

Not only that but blades owned by more prosperous samurai often had multiple koshirae at the same time (e.g. one for ceremonial duties, one for casual use, one for battlefield use). Check out this Hokke sword that just sold on the forum: https://www.militaria.co.za/nmb/topic/53726-nbthk-tokubetsu-hozon-hokke-katana-w-2-koshirae/

A good first blade indeed. Regardless of when it was made, koto Soshu in good condition is a very nice place to start. Putting in the effort of looking at blades in person has worked out quite well for you. I believe this is your sword: http://www.nihonto.us/SOSHU mASAHIRO KR.htm

I made a purchase! I made a 3.5 hr drive and viewed multiple swords in hand at a member of this forum's home. I ended up purchasing a 26 inch Daito papered by the NTHK-NPO in 2019 to 7th generation Masahiro 1573-1590. But the blade has the potential to be much older. According to Soshu Den Museum records. Masahiro did not sign as such after 1553. When he took the name, Tsunahiro. The form, length, and grain patterns and activity do not really match later Soshu works, but earlier. The nijimei signature is, as well, non existent in Tensho Masahiro swords. It has a partially polished out Buddhist prayer horimono. A previous owner (whom sold this blade on this forum 5 years ago). Thought the horimono might have been engraved in late muromachi period. I am under the impression that the NTHK-NPO may have classified it as a 7th gen. Potentially due to having lack of reference for anything older. And chose a "safe" designation. I checked Soshu Museum's records. The mei, as well as the forging patterns they desrcribe. Do line this sword up better with 2nd generation Masahiro (1393-early 1400s). Or something made in the 1400s. I would think the Japanese NBTHK would have a far better reference collection to nail down the date better. But also, I not doubting the NTHK's expertise. Just curious why a Masahiro blade would get made in such an old style, with a Mei that hasn't been used for generations, in Tensho? Maybe special ordered that way? There are a few ware up front. Which would knock it down a peg or two. Some signs of use. And it has a few smudges that may polish out. But overall, I am very happy with it. Late 1500s or late 1300s. It's is a very nice work. And a great first blade *i may add some more photos if interested.

That Yosozaemon was absolutely insane. I have 2 nice ones I can show from Bizen, Sengoku era. 1. Gorozaemon no Jo Kiyomitsu 1537 2. Bishu Osafune Sukesada 1567

I don't know that much about koshirae as I focus on the blades. However to me in this case the sword blade is pretty uninspiring and the fittings are very high quality. I would dare to think that there would be extremely few daishō sets with full Miboku fittings, so I would think they are very precious. Yokoyama Sukesada blades in this case would not be that interesting considering the fittings. The interesting part to me is that it seems they were given to museum in 1936 so they were in the US before WWII. I am not sure who this Howard Mansfield was but he seems to have had a huge collection of extraordinary Japanese Fittings, including another daishō set this time full Konkan fittings, several Natsuo work etc. top tier artists. Just write his name into MET search and enjoy some spectacular sword fittings.

On the left is Chōshun (Nagaharu) 長春　作

PS Just found a great video, with unearthed examples of Korean long guns of this type, with very similar inscriptions.

Hi All, Craig from NSW Australia, have been following and interested in Nihonto for quite some time. only recently in 2025 made my first purchases after studying the pit falls through collecting. I am here to enhance my knowledge and possibly chat with other collectors in my region.

From M Sesko Nihonto meikan translation Aritsugu (有続), Genbun (元文, 1736-1741), Settsu – „Sesshū-jū Jinrikumaru Aritsugu“ (摂州住神力丸有続), „Jinrikimaru Aritsugu“ (神力丸有続), civilian name „Takayanagi Shōzaemon“ (高柳庄左衛門), son of Kaga no Kami Sadahiro (加賀守貞広), Settsu-Shimosaka group, he signed firstwith „Kunitsugu“ (国継), there exists a joint work under the name of „Kunitsugu“ with his father Sadahiro which is dated with the first year of Shōtoku (正徳, 1711) and gives the age of 27 years, notare-midare or an Ishidō-like midareba, wazamono

For your work. No markings on the guard or anywhere else I can see. Scabbard drag matches

Hi, I am considering this katana tsuba (around 8 cm in diameter). I like the simple tsukashi, surface steel structure and even color but have no idea what the actual design symbolises. So all thoughts are most welcome! Best, Hector

The 4th character is not Seki.It is Ko. The characters read Mote yasugi ko. meaning made with Yasugi steel. Enjoy your Kanezane.

For NBTHK I think they are doing great job and it does support the organization financially. My only worry is the large amount of items that they do process through every year. I think the organization realized the problem and they did put a item number limit to Hozon & Tokubetsu Hozon shinsa quite recently, and it is now limited to 1,600 swords per session. Now as they do 4 sessions per year that would be 6,400 swords, then you add the Jūyō submitted swords and it would be 7,000+ swords. Here are NBTHK numbers I digged from magazines 5+ years ago (I had actually forgotten I did this ): NTHK (including both branches) is much smaller organization, however I do know for their international shinsa they have the minimum item requirements for shinsa team to attend. I know NTHK is not preferred by market but I still value their opinion highly too. As the item submission numbers are quite large for shinsa sessions I am left wondering how many minutes each blade gets? Now the time invested will of course vary from item to item. I do understand that experts can see fine details in swords very fast and in few minutes can tell interesting things about the item, I have seen this in European NBTHK meetings for example.

The length of swords has always followed the evolution of combat techniques (tachi versus katana) and the regulations issued by the shoguns. The vast majority of tachi were suriage so that they could be used as katana. Indeed, given the price of these weapons, it was better to shorten them than to make new ones.

Nick if you just want to buy one or two genuine 94's or 98's but are not interested in progressing the whole nihonto thing, thats ok but I encourage you to use the resources available on NMB by posting good pics/description of what u are looking at and I'm sure you will get useful feedback and hopefully avoid some grief. We all like looking at swords and, believe or not, many of us like to offer opinions Rob

@Conway S Showa 19 (1944) my mistake

You can usually tell a sword has been shortened without removing the tsuka and inspecting the nakago, the geometries/measurements/overall sugata will be strange compared to what is expected for a given school or line of smiths IMO

Useful article here from Markus Sesko on Tensho vs Keicho suriage: https://markussesko.com/2018/04/25/tensho-suriage-and-keicho-suriage/

Imagine the amount of work that went into creating that!

Kosyu Hikone Jyu Mogarashi Nyudo SOTEN Sei Goshu/Kosyu Hikone Ju (江州彦根住): "Resident of Hikone, Omi Province (Goshu)". Mogarashi Nyudo Soten Sei (藻柄子入道宗典製): "Made by Mogarashi Nyudo Soten".

Should be this item https://www.metmuseum.org/art/collection/search/24617