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Hi. I recently secured this little treasure, a Toran Kei Tsuba from the Kofun period. I absolutely love it, the antiquity, rarity, beauty and charm. It measures about 7cm x 5.2. The wording placed over the tsuba is my instagram account. Mark

Smiths_Soldiers_Diplomats_Block_Sesko-FINAL.pSmiths_Soldiers_Diplomats_Block_Sesko-FINAL.pdf Markus Sesko and I used to talk about how much we knew about Horikawa Kunihiro's life and travels compared to virtually every other smith before 1600. Then I came across Koyama Kanami's 1977 study of Akamatsu Masanori and his associates Katsumitsu and Munemitsu, I realized Kunihiro wasn't the only pre-Edo smith hiding in plain sight in the historical record. Markus and I began talking about a deep dive, and the result is the attached paper, which I hope stands out in a field where we know far more about the metallurgical features of great swordsmiths than about the men themselves. I am sharing it here with you guys first. It could not have been written without Markus's translations, discussions, and editorial judgment, which are evident on every page. I Hope you enjoy Smiths_Soldiers_Diplomats_Block_Sesko-FINAL.pdf

In 1937 an auction was held by The Tokyo Art Club containing most of Count Ito Miyoji's sword collection. Recently, I was able to purchase an Ichimonji katana that came from this auction and as part of my due diligence before purchasing, I obtained an original physical copy of the auction book from 1937. I went through and photographed all of the relevant pages and wanted to share them here, for anyone interested in the provenance and blades that were sold. I have already tracked a few of them down across the web, being on the open market at one point or another. I did not see this posted anywhere so hopefully it's not duplicated. I had my friend host the images on google drive. @Jussi Ekholm I was hoping this may help inform some of your Koto database as I only saw 1 or 2 Ito Miyoji denrai listings the last I checked. Anyway, enjoy and I hope it helps anyone interested. https://drive.google.com/drive/folders/1Pkkx8QewayhjQnrPRAfXbVMO2TcUpgZP?usp=sharing

Hi George, I appreciate kind words regarding and restraint in not posting my work. I will add the the pics of the tsuba in question myself for you all One of the most beautiful things inherent in Japanese art is the act of allusion and the culturally shared stories told in this manner. As for the eye, it is indeed inlaid with mother of pearl, but the iris is not black bronze. The method I was taught, have seen on antique pieces, and repeated myself in this case , was different. I carved thin the iris area on the back of the polished MOP to make it more transparent , and then blacken it with sumi 墨 before setting it into place. Please let me know if you have any other question as I would be happy to oblige. I hope this info is helpful!! Best regards, Marcus

Dear fellow sword enthusiasts, We would like to let you know that the Dutch Token Society will be present at the Japan Art Fair in Utrecht this weekend. If you are visiting the fair, please feel free to stop by our stand, have a chat, and share our passion for Japanese swords. We look forward to meeting you there! Kind regards, On behalf of the Dutch Token Society, Leen van Ochten Chairman

Leen and I had a wonderful time representing the Dutch Token Society at the JAF. Thanks to anyone who came to have a nice chat. We look forward to seeing you again soon. Greetings, Lex

Hi nihonto community. Even though the USPS office of the inspector general is still looking for the Sanjo Chikamura blade, it still hasn’t been found. I have my fingers crossed that eventually it will be found and will find its way back to me! I do want to mention that Nicholas Benson has been a real gentleman throughout this whole process and we have come to a mutually acceptable agreement. As such, I am happy to continue to be one of his customers and have recently bought some juyo blades from him!

More Pictures. Tom

Great summary Rob. My beliefs reflect your own. I am sure that I have shared my example below maybe in the leather covered thread; but here it is to add to the string discussion. I have an early Aluminum Type 95 (Variation#2, SUYA, serial number 7249), that has a string wrapped scabbard. It was applied with an incredible amount of care and precision. Note how the string is not tied at any place, but is rather tucked neatly into itself (see last image). It appears to be coated with some kind of glue or "hardener", I am not sure, but it feels like it's had something applied over the top. Its very cleanly done, and VERY tight. I have always assumed it was wartime, or immediately post-war. I rather like it, and think it adds some character. I do not know if it holds any relevance to the string discussion, but the scabbard on my sword is a unit armorer replacement and is unserialized. All the best, -Sam

Piece of paper and the sword in question are unrelated. The sword you have is in mounts that are usually associated with better quality wartime blades. Sometimes star stamped traditionally made Gendaito. In this case, I actually hope it has the original Gendaito blade, as they can be nicer than an average out of polish antique blade. But you'll only know when you take it out of the mounts. CHAT GPT is not a great source of info, and in fact can be irritating with its hyperbole. "...to preserve its massive historic value" is just plain silly. Take off the handle and let's see what you have there. Not a treasure, but appears to be a nice sword. One of over a million wartime swords that ChatGPT deems to have massive historic value Hopefully you have a nice Gendaito worth $2000+ Btw...someone needs to inform the clueless AI that hundreds of thousands of nondescript antique blades were repurposed and purchased for low value during the war to outfit military swords. Not every antique blade was some family blade lovingly taken to war.

And the last pictures. Tom

And more pictures. Tom

More Pictures. Tom

Speaking of katchu this was easily the standout piece with a price to match. Just superb And in a similar vein the talk on Menpo was very educational. I learned a lot from John's presentation

行年七十才 – 70 years old 堀江興成 – Horie Okinari

I was looking through an old Sotheby's New York catalogue of the sale of the late Charles A. Greenfield. The sale was on 25th March 1998. It comprised of 133 lots of exquisite inro. The final lot was a beautiful Inro by Shibata Zeshin 1807-1891. Unfortunately, the reverse is not shown, rather surprisingly as this was the star lot. However, it featured a kozuka and fuchi in shibuichi, which judging from the tsuba on the front, I would love to have seen. The front featured this yasuchika tsuba. The estimate was $40.000-$50.000

https://tokka.biz/fittings/TS291.html https://www.seiyudo.com/tu-080813.htm https://www.lotsearch.de/lot/a-french-watch-case-repurposed-as-a-nanban-style-tsuba-38922103

Here you go @Geraint, and those of you who cannot open the link. I find the mimi impressive and interesting. I have not yet developed the “eye” that you tosogu folks have; but I find the piece attractive. I’ll have to practice a bit with Curran’s procedure. Could be a nice pickup for someone IF it were to sell for gimei prices. Regards, -Sam

Many of the swords people describe as "a good starter blade" or "an interesting study piece" are mediocre, in poor health and polish, and generally don't really offer anything to be learned from by examining them other than the experience of holding a Japanese sword. This, on the other hand, is the kind of blade I would have loved to start with; a maker of high skill and renown (considered the intermediate quality step between Tametsugu and Norishige, and with many blades that have earned Juyo), in good polish and health, and with plenty of activities in the hamon and ji. A blade like this will continue to reveal its secrets as you get better at viewing it and understanding what you're looking at, and in turn will continue to entice you to develop your skill and broaden your knowledge. Good luck with your sale!

@Marcin These are all images made by me personally; I do not use other people's photographs. The sword is not perfectly mirrored, as I have not figured this out completely yet, and this causes the ura and omoto side to not completely align perfectly, as you point out. The background was removed, which can cause some artefacting around the cutting edge, as I stated. The shift in the horimono is actually there on the sword, as I stated in my description. There are no alterations made to the image, except for removing the background. This can also make the hamachi area slightly vague. Greetings, Lex

I agree with "候". 出来宜敷候 * Deki yoroshiku soro.

Recently a friend commented “This looks like work by Shōami Katsuyoshi.” At the time I thought it was an odd comment, but he does have a huge collection of valuable artefacts, so it was an interesting insight. 正阿弥勝義 Later I discovered during some background reading that Katsuyoshi was apprenticed to his father as a tōsōgu and Tsuba maker long before he became famous for his finely-detailed metalwork objects into the Meiji period. Here is the Wakizashi sized iron tsuba, kind of aorigata, with sakura, pine and ginkgo themes in silver and gold. Front Back

I have two canvas field belts which are in the attached photo . Last weekend I saw another one with what I suspect is a pretty unusual feature . It had a small leather pocket on it which had a small bamboo mekugi nuki still in it . Has anyone else seen this feature? Does anyone have any idea what the strapped leather piece ,in the middle of the lower belt in the top photo, might have been used for?

Dawson’s book features this kind of belt. That pocket is alternatively designed to hold the scabbard during Kendo practice or sometimes in combat.

ON HOLD

The 2026 Japan Art Fair was excellent. For those who couldn't make it, here are a few impressions. Prices were very reasonable and fair. You should plan to visit the Japan Art Fair next year. Tom

I almost fell for this Taima Naginata Naoshi. While the blade had some nice chikei activity in the Ji it was the koshirae that really made me weak at the knees and I tell myself I'm not a fittings guy.

The show exceeded expectations this year. Without a doubt the best of the 3 I've attended so far. Here are some pics taken showing some of the highlights for me First a TJ Den Chogi on Paul Kremers stand. Sorry for the quality, I was peering over the shoulder of the viewer. I got to see it in hand later but couldn't take pics. An awesome blade. Its easy to see why Chogi is so highly praised. The Tanobe Sayagaki was more definitive with a direct Nagayoshi attribution without the Den qualifier. A Juyo Sanekage sunobi tanto A spectacular Juyo Unji at the Piva booth. Ubu, single mekugi-ana. Mumei. And obviously some great Menpo and kabuto

It's always been my understanding that piercing wasn't necessarily the goal. A spear thrust carries a lot of momentum, and even if it doesn't penetrate armor, that force can still knock a man from a horse, dent metal, damage joints, crack bones, and/or incapacitate a person. It's probably worth noting that this is not the predominant shape of yari that we encounter, which leads me to suspect it could have a more specialized use. It's easy to speculate, but let's not forget that these items are from a long time ago from a culture we may not entirely understand. Speculating is fun, but short of some good data or expert input, it's just that. All the best, -Sam

Wangata are mounted opposite to a basket hilt the cupped/indented side faces the blade not the grip. There is a theory that the design keeps water and dust from getting into the saya [just a theory IMHO] Most Wangata tsuba would not fit very well into the hand if mounted like European cup hilted weapons- the size would tend to cut into the hand, the exception being the huge example seen below A HUGE novel mounted example [recycling a childs Kasa or Jingasa] and a more conventional mounted piece. I have at least four Wangata examples. Similar theme and design [A bit more "up market?"] https://tsuba.jyuluck-do.com/TU10197.html Video link: https://www.google.com/search?q=Wangata+tsuba&oq=wangata+tsuba&gs_lcrp=EgZjaHJvbWUqBggAEEUYOzIGCAAQRRg7MggIARAAGBYYHjIKCAIQABiABBiiBDIHCAMQABjvBTIHCAQQABjvBTIKCAUQABiABBiiBNIBCDczNThqMGo3qAIAsAIA&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:4d96ccfc,vid:ZZQ6A-pRfqA,st:0

Perhaps a variant of Katabami? https://irohakamon.com/kamon/katabami/mitsuwarikatabami.html

Something similar? https://www.jauce.com/auction/c1101293589# This one looks like a rough wire wheel has been run over it! This is mostly ruined and not worth the asking price. Seeing a cloud dragon is generally viewed as a powerful, auspicious omen but there is also the Divine Emperor Myth: Historically, early Japanese emperors were believed to be descendants of dragons. Because the dragon was viewed as an incredibly divine, celestial being, it was a common belief that actually seeing a full, whole dragon would cause a mortal to perish from its sheer power. So parts of the dragon were obscured or could only be seen on the opposite face. It might be a liberty but most large collections will likely have a similar example ["dragon" collectors may have several]

Am I posting too many tsubas to talk about? Should I have put this in the auction section? I'm not planning to bid, I just want to talk about the Tsuba. I haven't seen a Tsuba colored like this one before, I imagine it's uncommon but not unheard of? Very striking design. Almost feels like a halloween theme with the bat and the halloween orange/black jelly bean coloration. It's being auctioned (in about ten minutes) in Vienna at Galarie Zacke. I'll reply later with what it sells for. Auction text below. https://www.liveauctioneers.com/item/232258999_tenkodo-hidekuni-a-fine-and-rare-suaka-and-shibuichi-bats-at-dusk-and-dawn-tsuba-vienna-vienna

In fact I also had a kogatana in my collection of a similar fashion. Quite nice, very finely made. Best,.Alex

Curran's approach is the same as what I was taught about sword kantei - look at the sugata, jigane and yakite - What does that tell you about time period, smith tradition and maybe swordsmith?. THEN look at the mei and see if it fits. Many of the Japanese books about swords and kodogu are limited publication or privately published, so very little of that knowledge has been scanned into online digital records. So yes, reference books are still required. For signatures, here are a few standards. Probably the most recent and exhaustive in English, but no images of actual mei. I believe it came with searchable files in .pdf format. https://japaneseswordbooksandtsuba.com/store/book/fittings-books/b760-the-index-of-Japanese-sword-fittings-and-associated-artists-by-robert-haynes/ Anything by Wakayama is highly regarded. https://japaneseswordbooksandtsuba.com/?s=wakayama My go-to books with images of validated mei. https://japaneseswordbooksandtsuba.com/store/book/fittings-books/b672-toso-kodogu-meiji-taikei-by-wakayama-with-english-index/ Another by different authors. https://japaneseswordbooksandtsuba.com/store/book/fittings-books/b755-kinko-meikan-by-senichiro-masumoto-kenichi-kokubo-with-translation/

Kanemori seems to be the mei, and the date is 'showa juhachi nen', 1943. Pictures like this should be shown with the point uppermost so that the mei can be read vertically. Also, best shown against a black background.

So several individuals that are much wiser/more experienced sword collectors have now looked at this sword in hand and I can say they state that two of their comments are in common: 1. This certainly appears to be from the Rai school (late 1400's). 2. This is most certainly NOT a Kunimitsu mei, but is most probably from the Rai school. I intend to have it submitted to a shinsa, after which I feel that I will need the mei crushed, and then resubmit to shinsa to try and get it attributed to one of the smiths/students of the school. Fascinating that I bought this as a "after thought" to keep it with the Type 2 Arasaka that I originally wanted to keep the items together that the GI brought home after the war 80 years ago. This has certainly taken me down Alice's rabbit hole once I started to appreciate the blade as something potentially pretty nice. Thanks for the comments and help to all here, as since I have demonstrated by my ignorance that I am NOT a sword collector. Brian

Hello Nazar, Good picture.....this 'string binding' of sayas has been mentioned before, maybe on the leather combat cover thread? I believe many of those seen are period, in fact I have a copper 95 with the tell tale makings of old (long gone) string binding. Of course, both metal and wooden sayas had leather covers in the combat environment but what happened if you were transferred without the benefit of a leather cover or yours simply rotted off in the tropics.....string? My belief is that it may have been done to both camouflage and also, possibly more importantly, to reduce any noise occurring from the steel saya hitting the many other metal military objects carried. Sound carries! Rob

I hadn't seen this before. A 椀型Wan-gata tsuba. Seems like it would almost act like a basket hilt. https://www.ebay.com/itm/267698595756? John C.

best Kishu Teimei Tsuba in Mokume i have ever seen, slightly above my Budget. Although the prices seemed very fair! Juyo Ichimonji

It was a great fair! Met a lot of old friends and made some new ones. Much to look at, learn and touch!

They are for armor piercing. Yari in that style, like others have stated, are typically quite small, even when compared to other yari. So they may look much larger than they actually are. Another point of consideration is the force imparted on polearms when using them. For someone on horseback charging at you, you do not need a super sharp yari to kill them, in fact something very pointed may break in such a situation. Therefore you would want a flatter, wider surface that can sufficiently distribute the force of a charging enemy as well as one in armor. For the palanquin yari I am not sure where you heard that. They carried shorter yari as they were cheaper than a sword(which they would not be able to carry anyways), easier to use, and a key point that many forget: they could be thrown. We have historical examples of shorter yari being used almost like javelins. Combined with the fact that they would be easier to carry than longer yari, and you have a rather multi purpose weapon for an unskilled user. They were not for "bludgeoning" an assailant to death. To add to the point I brought up of them being thrown, Uchine were common palanquin weapons for similar reasons.

竪丸形 鉄地肉 ＊ tatemaru-gata tetsu-ji niku- 彫 銘 一柳友善作 ＊ bori mei Ichiryū Tomoyoshi saku 初代作也力作 ＊ shodaisaku nari, rikisaku 昭和辛亥卯月 ＊ Shōwa kanoto-i Uzuki [1971, April] 寒山誌 ＊ Kanzan shirusu (kaō)

Grev: This happens to be one of my collecting areas. Love these. Anyway, they were used throughout the Edo period by yoriki (inspectors who worked for the magistrate) and by doshin (local constables who worked for the yoriki) and even komono (assistants to the doshin). The kagi, or hook, is sometimes referred to as a sword catcher or breaker, however in practice, this would not be easy to do. The hook was actually used to apply pressure to the torinawa (rope capture; i.e., handcuffs) or to hook onto clothing or even hands to affect the arrest of the criminal. Most are simple in design and materials since they were everyday use tools. Most are heavy iron, though I have at least one made out of heavy brass. The older ones tend to have forgeed kagi while the slightly later ones have a peened over through tenon on the kagi like yours. Later, they were welded. Earler versions also tend to have a boar's eye design for the tassel hook, later ones have the straight loop like yours. They all spin to keep them from binding. Occasionally, you will find the torinawa still attached to the loop. One last thing, most came with tassels. I have read that the type or color of tassel can be used to identify the rank or status of the wearer, however I have not been able to confirm this. I have several books on jitte (ten hands), however they are in Japanese. If I can translate them some day, I might find out more about the tassels. John C. p.s. see also sodegarami for related samurai arrest and control weapons.

SOLD

It's also interesting to compare the age and demographics of nihonto enthusiasts at Japanese events to the ones in the West. Much younger, much more evenly distributed gender-wise (with many, if not most, tilted in favour of girls and women).

This kind of random stippling is just easy to make, and many tools will be at hand for it. The above TSUBA with no SEPPA-DAI and made with a wrong tool (too sharply pointed) looks like amateur work to me. No machine needed, just a steady hand and some endurance. Generally, the use of mechanical machines is overestimated. For individual workpieces, you would have to make a work-plan, create an adjustable fixing device, and control the work progress. Non-flat surfaces remain a challenge. Modern CNC machines can do that easily but they are uneconomical with small series of only a few hundreds, and in comparison, all work-pieces will look exactly alike..

Thank You! Yes it have Minatogawa vibes. If You have any thread about securing base material link me. These petals are made with precision. I don’t want to rub them off, maybe isoprophyl alcohol and cotton ear buds? Spot at ura side looks like leftovers of mei? If so then tsuba was eaten a lot. Marcin

Hey everyone, nice to meet you all. This is my first post here and I'm looking forward to learning from the group. Just wanted to get some opinions on my wakizashi which I purchased from Tozando in Kyoto. It unfortunately does not have NBTHK certification, but is a beautiful blade that immediately caught my attention. Can anyone tell me about the signature? Pictures are here.

Largely what Tim said. This is a very core list of the good books for the hard core collector. I was looking at a fitting recently trying to kantei it to a specific maker, though it is mumei. There is one 99.95% authoritative book in this area, and it took me about 15 years to buy a copy. I may only use the book 1 or 2 times per year, but it is the binary [yes/no] book to have for kantei in that particular area. That is all I will say for now. After about 30 years, I've been able to narrow it down to about 20 books. 10 of those books are"must have or stay ignorant" tomes of knowledge.