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Last October I posted a thread about a Kamakura era tantō I found in Japan, signed Kunimitsu and dated 1308. The deal fell through at that time but in the interim months I kept thinking about it. Spurred on by the dealer stating he planned to have the Mei removed and blade polished before resubmitting to the NBTHK, I decided to redouble my efforts to acquire it. I just couldn’t let that fate befall it, especially as the NBTHK issued Horyu papers in 2018, so I found a way to complete the transaction and it's now in the possession of an intermediate. Fortunately the dealer hadn’t started the work. It was thanks to an investment in Markus’ Kotozen-HC that really spurred on my attention on this blade. I have no idea how this project will pan out but I think I’ve done enough groundwork to at least give it a chance. Here’s my story and a request for assistance. The Hunt Years ago while I was scouring the websites of Japanese retailers I came across a fairly obscure dealer. He has quite a large inventory but mostly lower to mid quality pieces often in poor state of preservation. Buried deep in tantō section was a blade that caught my attention. I made a mental note to revisit the listing later but forgot about it after a redundancy in 2021 and relocation to a different Continent. Then back in October last year I stumbled on the retailers webpage again and to my surprise the tantō was still listed. I should add this was also a consignment piece which the owner had inherited from his deceased father. The son was not a collector nor familiar with the swordsmith. In 2018 the dealer submitted the blade to the NBTHK but they couldn't come to a consensus and returned it with Horyu papers, and a request that further work was needed to authenticate the Mei. 2018/2019 Juyo Shinsa were a couple of those strange years at the NBTHK and I wonder if this contributed to the result for this blade. The dealer was unable to find the evidence that would advance its progress through Shinsa, so the blade remained in the shops inventory almost forgotten, and pushed further down the page. Horyu papers are quite unusual as the NBTHK gets no monetary return when these are issued. The good news though is that getting Horyu is not terminal, in that the Shinsa committee is not saying its gimei, just that there are differences to the usual Kunimitsu nijimei, to warrant additional research. Kunimitsu’s style of Mei is very unique and from what I can tell, consistent throughout his career. The Inconsistency The main 'problem' is the Kuni kanji. Instead of a vertical central line it's curved left to right although the reversal of the mirrored S and 3 parallel lines is consistent. How can this be explained? Fortunately this blade is dated 1308. At this stage the historical texts say Kunimitsu was at the end of his career and is believed to have died around 1312/13. His successor was his 2nd son Kunihiro. It was common practice for smiths of the period, at this stage of their careers, to focus on forging and give the honour of carving of horimono and signing the nakago (daimei) to the best apprentice, or in this case, the defacto successor, Kunihiro. As an aside Yukimitsu was likely the best candidate to take over the forge but he was not blood related and therefore ineligible. Markus states in his Swordsmiths list that all Kunimitsu's sons signed Kunimitsu after his death and that examples of daisaku exist. I have scoured the web looking for examples of Kunihiro's style when signing Kunimitsu and indeed have found several that slant in the normal way. There is no chronology for these signatures so his signing style around 1308 is unconfirmed. Kunihiro as well as Kunishige signed Kunimitsu in a couple of different ways, from 1317 on. Daimei-daisaku was not uncommon during this time and Darcy wrote an excellent essay comparing the 6 styles of signature for the early Rai school smiths. https://onihonto.com/archived-nihonto-ca-yuhindo-com-rai-kunitoshi/ There is a suggestion that the Midare-Kunimitsu, his only extant blade in the Soshu style, was in fact forged by Yukimitsu One of the main points I get from the article is that when an apprentice signed daimei the aim was not to precisely emulate the masters signature style, but to introduce slight variances to differentiate the author of the Mei. In this case Kunihiro added a normal slanted centre line in contrast to the master’s atypical vertical line, but maintained the unusual style of the mirrored S to the left and used a more standard style on the mitsu kanji, without the turn back stroke. The dealmaker If this was all I had to gone on I might have passed on the blade, but I fortuitously invested in Markus' kotozen publication and on pages 456-458 is what is best described as a dead ringer for my blade. The nagasa is almost identical, as is the motohaba, the style and positioning of the boshi is likewise similar. Shape of the nakago is the biggest difference but is consistent with other blades like the Aizu Kunimitsu. Another interesting feature is the characteristic Kunimitsu single sided Koshi-bi. Both blades have an almost identical Koshi-bi on the omote. I have measured the carvings using the munemachi as a reference point and they are almost identical in length. Fortunately the tantō in the book is also signed and dated by the Master himself, but 2 years earlier in 1306. Dated Kunimitsu blades are extremely rare and I only know of 4 including the one I found. It's conceivable that Kunihiro was designated heir-apparent within those 2 intervening years. A couple of blades are dated to the early 1320’s so likely Kunihiro signed Kunimitsu Mei as head of the workshop. One in particular has similar Shintogo jiba, is a shorter length so more characteristic of the father and shows yakikomi (perhaps a carryover blade from before Shintogo died?) What little of the hada that can be seen through the layers of oxidation look promising and that by itself makes it worth going through the various steps. It also has another kantei feature for Kunimitsu namely Yakikomi (absent in the 1306 blade and sometime only on one side) and is considered a sign of superior heat treatment executed by a Mastersmith, with the hardening extending into the nakago. This is something that Shintōgo Kunimitsu excelled at. It also has mitsumune another feature of early Soshuden and seemingly omnipresent on Shintōgo Kunimitsu tantō. Some style of Kuni kanji carved by Kunimitsu's apprentices/heirs A little more digging and I found a short video of the tantō from 1306, taken during an exhibition at the NBTHK last year: https://www.facebook.com/reel/416844547828291 Whats next and a request First thing I want to do is have Tanobe take a look at get his impressions, probably after a window has been opened. Then with a fresh, sympathetic polish I will have the blade resubmitted to the NBTHK. I have exhausted my references and online searches of styles of Kunimitsu Mei, but would be better to find more examples of daimei, daisaku Kunimitsu as mentioned by Markus. If anyone has examples shown in other references that would add support for a daimei attribution I would love to see them. All this information will be passed along for the Shinsa Committee to review to help them come to an informed conclusion. Is there any other supporting evidence I may have overlooked that would bolster the resubmission? Ultimately I think the quality of the jiba has to meet Shintogo Kunimitsu standard for it to be accepted. Did the 1306 blade appear after 2018? Any idea when it passed Shinsa and what papers it got? Goal I’m realistic that the tantō is not in the best shape having been subjected to many polishes over the years. But I will choose the most appropriate togishi to preserve what is left. My main goal is to have the blade attributed to Kunimitsu with daimei signature. If confirmed then this blade has important historical significance. It needs a tsuka, shirasaya and Tanobe sayagaki. There is also a page from an old book stuck to the saya which I would like to have translated. It mentions Masamune, Norishige and Kunimitsu but I’m unsure if there is a specific reference to this particular blade. The sun/moon habaki seems quite unusual too I'm looking forward to seeing where this leads and hope my gut feeling about this blade is justified. If anyone can provide any additional references I would be very grateful.

"道祖尾 守廣 " usually reads Sainoo Morihiro.

Wanted to see if anyone would be interested in a PDF or image collection of volumes 10, 11, 12, 13, 16 and 17 of the Honcho Kajiko? I have these and would be willing to compile them if there is any interest. These are all oshigata volumes.

Although Kobayashi Taigen (1938-) has brushed numerous versions of this solitary and simplest kanji character, in no other has he used the technique of "white space" to its fullest and most vibrant effect. In Zen, the concept of "one" (or rather, "not one") often refers to the negation of duality and the interconnectedness of all things, moving beyond the limitations of individualistic perception. It's not about literal oneness, but rather about dissolving the perceived separation between self and other, subject and object, and ultimately, between reality and illusion. Zen emphasizes being fully present in the moment, without judgment or conceptualization. This includes recognizing the interconnectedness of all things in the here and now. In this sense, "one" can also refer to the singularity of the present moment, where everything is simply as it is. Kobayashi was born 1938 in Shenyang, China and raised in a Buddhist monastery when he was six years old. In 1975 he became the successor of abbot Miyanishi Genshō at Ōbai-in, a sub-temple of Daitoku-ji, Kyōto. He is a prolific calligrapher, maker of tea bowels and bamboo tea scoops for traditional tea ceremony (chanoyu).

A recent auction purchase that I took a chance on as it was described in the catalogue as 'A modern reproduction of a late 19thC Japanese cast metal tsuba'. I had studied the auctioneers pictures and I was pretty sure it wasn't a modern copy as I could see nunome-zogan, the sekigane around the seppa dai and hitsu ana looked like good copper inserts, the figures on the bridge looked typical of ones I have seen on other tsuba and it appeared to come with an old higher spec custom box. I'm no expert here and I may be totally wrong but now I have it in hand it looks authentic? Dimensions: Height 85.5mm Width 83.0mm Seppa dai 5.1mm Mimi with gold fukurin 5.2mm There's a few questions if you don't mind: The hitsu ana seem unusual for Soten compared to others I have looked at, is it Soten or in the style of? It doesn't look to have been mounted, and again the large sekigane for the hitsu ana I've not seen before, is this unusual? Having looked at Japanese paintings on-line to try determine the scene or tale it represents nothing jumps out with three travellers/sages admiring the mountain view with shrine/temple in the distance, any thoughts or is it just a nice scene? Thanks for looking and welcome any feedback.

I’ve lost access to my original account on the board, so I’m posting from this one. I don’t believe many in the Nihonto community are aware of the major legal changes taking effect on June 28, 2025, which will significantly impact antique collectors who purchase items from outside the European Union. The law in question is the Import Licensing Regulation for Cultural Goods (EU Regulation 2019/880), which was passed in 2019 and is now coming into force. While you can easily find the full legal text online, here’s what it essentially means in practice. From that date forward, any cultural good over 250 years old, regardless of value, will require an import licence to enter the EU. This licence must provide documented proof that the item was legally exported from its country of origin. The application process can take up to five months, and there’s a major catch: the licence can only be applied for by someone who holds an EU EORI number, which is currently issued only to VAT-registered businesses. In other words, private individuals will not be able to apply. A further complication is that the licence won’t be issued simply because the item is genuinely an antique. The key requirement is evidence of legal exportation from the country of origin. This means that if you purchase a Japanese sword from a UK-based dealer or collector, they must be able to prove it was legally exported from Japan in the first place. If you’re buying directly from Japan, you’ll need proper documentation to show that the export is lawful. This could include official permission from Japan’s Agency for Cultural Affairs or a formal invitation for customs inspection of second-hand goods. The aim of these regulations is to combat the illegal trade in cultural property. EU customs authorities are expected to assume that buyers may attempt to misdeclare the item’s nature, age, or period to avoid the licensing requirement—doing so is illegal and punishable by law. Furthermore, the applicant for the import licence must sign a legal declaration affirming the accuracy of all provided information. Due to Brexit, individuals and businesses based in the UK are not subject to this regulation. Antique imports into the UK do not require an EU licence, though they are still subject to 5% import VAT. For VAT-registered UK businesses, that VAT can be reclaimed. Personally, Brexit has spared my business from what would otherwise be a very difficult situation. Unfortunately, for dealers and collectors based within the EU, these new requirements pose serious obstacles. Professional antiques dealers who are members of CINOA are already aware of these developments, as CINOA has been actively lobbying against Regulation 2019/880. More information can be found on their website: https://www.cinoa.org. Dealers based outside the EU who wish to bring antiques into the Union—such as those affiliated with JAF—will need to obtain a temporary import licence. This process is relatively straightforward and familiar to those who regularly exhibit at fairs like TEFAF. However, if any of the imported items are sold, they must then have a full 2019/880 import licence before they can be transferred to the buyer and the buyer must have a EU EORI number. Dealers operating within the EU must also secure this licence to import items, regardless of whether the goods are for resale or exhibition. In practical terms, Regulation 2019/880 is deeply flawed and largely unworkable. It threatens to severely limit, if not entirely block, private collectors from purchasing antiques from outside the EU. While there is hope that a resolution or adjustment to the regulation may be found, for now it is crucial that the community is fully informed and prepared. Purchasing nihonto from overseas into the UK has become increasingly difficult. One of the main challenges is that couriers are no longer willing to handle weapons unless the sender has a special exemption and is recognised as a certified specialist packer. Adding to the complexity, many airlines are now adopting similar policies and refusing to transport weapons altogether. Given these restrictions, collectors are left with few options. Realistically, you may need to either source your nihonto domestically or consider exploring a different hobby altogether like buying armour! regards David

Hi Rebecca, This is not Japanese. I would say this is a late 1800s/ early 1900s German hunting knife. The acorn motif is quite common to find on German hunting knives of the period. Are there any maker’s marks on the ricasso? Conway

Longterm, I’ve wanted to add a Type 95 to my collection, but I haven’t wanted to pay the price for one. I like the shape and fittings of 94s, 97s, and 98s better. But on a local gun trader forum, an older gentleman was selling his for $500, and I shot him an offer for $425, and he accepted it. When we met up, he said he was just looking to help out a younger collector, had originally paid $450 15 years ago from Steward’s Antiques, and we chatted for a long time sitting out on his porch. Before I left, he popped back inside and came back with a silk flag and said “Take this too. It’s yours.” Very, very kind. I have a Tokyo First sword (Dawson pattern 2A). There’s a little corrosion on the blade but not much, and the sarute is broken. I don’t see any stamps on the iron fuchi. The only stamp is the final acceptance mark by the serial. I was very surprised by the sugata on this pattern once I held it in hand. The kissaki is almost a chu-kissaki, and the blade seems flimsy overall. My 97 and Zoheito are much more robust. My understanding is that at this time based on the serial below 130,000-ish, Kokura was still supervising the program? Anyone have a guesstimate for when it was produced? The books don’t seem to get into that specificity. But for paying something like 30% of the market price (with a free flag!) I can’t complain at all.

Careful, before you know it you'll want an example of all the different patterns (that's what has happened to me) For a deep dive into some of the nuance of these swords, Nick Komiya's contributions to the warrelics threads below taught me a lot; along with some very generous forum members here on NMB: https://www.warrelics.eu/forum/Japanese-militaria/short-development-history-type-95-gunto-676112/ This is a good one too: https://www.warrelics.eu/forum/Japanese-militaria/ija-type-95-nco-sword-info-228172/

Thanks. Considering the first time I even held a Japanese sword was only a year ago I feel blessed and whatever the outcome, I'll have enjoyed the journey.

Reminds me of the light weight Type 98. There were Murata imitations as Murata himself mentioned it in an interview. This interview can be found over Ohmura's website.

Very exciting stuff! 😊 Unfortunately I lack the skill to know the subtle differences in signatures but fortunately I have so many references. I checked and I should have 68 signed Shintōgo Kunimitsu tantō and 12 dated ones between 1294 to 1324. I can try to find time some day next week to post some good reference items. 👍

Easy to spot scam, and never mind it is gimei. The sword is signed Bitch no Kami Tachibana Yasuhiro. The papers say Echizen Shimosaka. This is a prime example of why newbies should study more before they make a purchase. Fortunately, there are resources online today.

I’d say some form of nokogiri-ba or saka choji I have big doubts about the authenticity of this particular blade. Looks like either a fake or something that’s been severely messed with Just my non-expert opinion from the photos provided. -Sam

"Terminology wars never change". In passing conversation, a dealer in Japan mentions "oh, young people using the term ..., they don't know it really means ...". Someone hears that and eager to look smart and cool, puts it on the forum - you are all stupid, in reality it means that ..., everyone in the know knows that. But alas even seasoned collectors are yet to reach my level. Or an "academic" starts to "enforce" the definition saying that those who use it differently are "unscientific". ... The historical literature very often uses whatever suits the moment. Their goal was to make a description for a specific situation not the general set of precise definitions for all times. In Japan at least the general culture and language remained more or less consistent with a strong reflection in literature sources. Elsewhere outside European weapons which are also reasonably documented, terminology wars are just pointless and endless bickering for prestige. In "wootz" there are plenty people believing they know "the proper, historic way to call these steels", except historic sources are actually unclear what to call what. There are dozens of sword names that are "contested" because someone traveled as a tourist and discovered "the natives do not understand the name we collectors use". Ofcoarse they don't - the original word was used centuries ago, and in the XVIIIth century was copied rather half-efforted into English and other languages.

No, I have not seen this stamp before. It looks like an encircled katakana MO. ㋲ = encircled katakana モ.

Some months ago I acquired this tantō, niji mei signed Harushige 春重. Markus Sesko mentions one Harushige from Sōshū in the Tenbun era 1532-1555. I don't find further details about this smith, not in the Kotō-shi, nor in the Shintō-shi or in the Tōkō Taikan. Any info would be very welcome. Pierre

Hi all. Thanks for the notes. To put this to rest… Matsunoki is right, or so I believe. I have run a couple of simple tests to see if it is silver or polished iron. I can’t find any evidence that it is silver, and when I rub the darker areas with a tissue they come away with iron rust colour, so I am going to assume that it is indeed iron. I have written to the auction house to complain that their description was inaccurate and asking for some action, no idea if they will respond with any except a form email, but we will see… I am sad, because it was a piece that I was quite excited about. It is not a cheap mistake, but I am somewhat sanguine about it. It’s still a piece that I like looking at, and learning is always valuable in the end.

Thanks Desmond. I have mentioned this legislation a couple of times on the Forum but I think it is largely going un-noticed and there are going to be many EU collectors with serious trouble on their hands. Swords stuck all over the world but especially in Japan whether with Japanese dealers or for Shinsa. It is bureaucracy gone totally mad. I’m exactly the opposite!…for better or worse! My days dealing in Japanese Art taught me not to hesitate. “The time to buy something good is when you see it” was the advice I was given very early on. When that approach does backfire on you simply sell it, forget it and go buy something else! I remember several instances when I’ve been standing behind someone at a show or a fair. He has picked up something really nice and is pontificating and trying to talk it down. I’m praying “please just put it down and go think about it”….and the utter joy when he puts it down and says he’ll be back in a few minutes…..and the look of horror when I pick it up and say “sold”. It’s dog eat dog out there! Who dares wins (most of the time🙂) I once had a fight break out on my stand at a large show caused by just such an event. Anyway what’s that got to do with anything…..🙂, sorry.

I’m struggling to believe this is silvered. The silver colour looks like heavily worn shiny iron ie it has lost all of it original dark patina. Personally I’ve never ever seen nunome zogan on silver or on silver plate. In this case the silver nunome would not have stood out against the background? To my eyes it is a heavily abraded and worn iron plate that just happens to look like it’s been silvered. I hope i am wrong because that’s a hell of a price for a worn iron tsuba.

Frank, looks like a KATANA blade (SHOWA-TO) in a modern ITOMAKI no TACHI KOSHIRAE.

Kamon are used by multiple, often unrelated families. Impossible to tell who owned a sword just by looking at the mon (unless it is an extremely unique mon, but even then you would want some corroborating provenance).

Hi Jesse, (Seki stamp) Noshu ju Mishina Yoshikane. Made in Noshu by Mishina Yoshikane. The Seki stamp means it isn’t a traditionally made blade and was made during or just prior to WW2. Another example of this signature here (which is where I took the reading from):

We are pleased to announce the addition of three exceptional Tokubetsu Hozon Katana to our inventory, now available for viewing on our website. Each of these swords is accompanied by elegant koshirae and reflects a unique facet of craftsmanship and tradition: A refined yet more accessible Satsuma Katana by Houki no Kami Ason Masayoshi, showcasing hallmark Satsuma traits and ideal for collectors seeking quality with value. A superb Katana by the 4th Generation Hizen Tadayoshi, representative of the dignified Hizen tradition during the Genroku era. A rare collaborative work (Gassaku) from the Mishina school, forged by Omi no Kami Hisamichi and his heir Rai Hisatsugu, blending the legacy of two generations in one blade. All three swords bear the prestigious Tokubetsu Hozon designation from the NBTHK, attesting to their historical and artistic significance. We invite you to explore these new listings and welcome any inquiries or questions you may have. www.toukentakarado.com/nihonto Warm regards, Nicholas Fu Touken Takarado

Hi Here is another one on fuchi on my first Shin Gunto. Thanks to @Lareon I know its a Kasai Three Oak leafs. Thanks Tony

I did gave it a thought, but there are several reasons why I don't do that. First and foremost I'm a father of a 2 years old, so my presence here is very much needed. Another reason is that for me this is an hobby, and actually I'd like to keep it that way. There's basically no professional tsubashi even in Japan, they all do side jobs (mostly jewelry), that's because nowadays is very hard to make a living out of it. So I rather work on my spare time, doing the occasional commission and my experiments. Also even in Japan nowadays nobody is working in this style, as you said there was Issei which was a Mukansa, but he left no student and his books didn't provide any information that I didn't knew already. So there won't be much help in going there to study as nobody can actually teach me. I've got so far with my own means, so I think I can keep doing it. Of course I go almost every year to Japan to study tosogu (and nihonto), so I think I'll keep this way, at least for some years 🙂

Shoami perhaps, though that last kanji… 正阿弥

For posterity here are the very rarely seen Horyu papers issued by the NBTHK

Sadly no, Colin. It’s with Jan and he was still editing it last time I heard. It needs a kick-start. The world needs this book!!!

@Bruce Pennington @Joseph P. there looks to be an error in the Sesko list with two smiths (from original Seki list): Made in November 1944. I think you have the name right. Sesko lists 2 by that name working during the war: "MICHIZANE (道真), Shōwa (昭和, 1926-1989), Gifu – “Michizane” (道真), real name Kosaka Takao (小坂隆男), born February 20th 1921, he worked as guntō smith and died December 17th 1964 MICHIZANE (道真), Shōwa (昭和, 1926-1989), Gifu – “Michizane” (道真), family name Nagao (長尾), he worked as guntō smith, ryōkō no retsu (Akihide) There is only one MICHIZANE and his real name was NAGAO TAKAO 道真　長尾　隆男　born Taisho 10 (1921) February 20, registered as a Seki smith on Showa 16 (1941) August 7. He was a student of Asano Kanezane. In 1942 Banzuke (Akihide) listed as Nagao Michizane. Looks to be also read as MICHISANE, but more likely "zane" is correct as a student of "Kanezane". These NOSHU examples with Sho stamp look to be katana-mei and well made Showato. Your blade is later war Nov 1944 and as noted through Nagoya Arsenal with small Seki stamp and Gifu stamp. Also is signed tachi-mei and in rinji seishiki koshirae. "Zane" is cut slightly different.

It's a good question. @Kiipu would be the one who might have a good detailed answer; as my focus has been mostly on cataloging and dating. (But I am getting there! ) It's my understanding that Kokura administered the 95 program, but did not directly make or even supervise the making of the swords. Therefore your sword was presumably made and stamped at the Tokyo First Arsenal rather than traveling to Kokura to be stamped. Cool sword, and thank you for sharing! -Sam

It would be: Showa - 昭和 10 - 十 9 - 九 Year - 年 10 - 十 1 - 一 Month - 月 All together, Showa 19th year, 11th month (November 1944) Showa was an era of Japanese history corresponding to Emperor Hirohito (Showa) from 1926 (Showa 1) to 1989 (Showa 64) when he died.

Great looking 95, and nice flag too! Nice condition of the blade, a lot of times you see these with big scuffs and scratches, whereas yours looks relatively pretty clean. Bruce is correct about the fuchi stamps. I would estimate the date of your Type 95 to be between March 1942 and September 1942 Can't beat that price these days! Well done. All the best, -Sam

That's a great story and a nice 95, thanks for sharing! Sam or Thomas will help you with the date estimate. The Tokyo 1st arsenal didn't make any efforts to stamp the steel fuchi, only Nagoya did that.

Interesting site, shame i see "price on request", a real off put, sadly.

Mismatched fittings, saya and ito look brand new. Nakago looks wrong, habaki looks hammered. What type of hamon?…..my guess a Chinese hamon on a fake blade in a made up Koshirae all designed to fool. imo

Don't forget the RJT and private-made gendaito of the Showa era 1926-1945. These are the last in the 1000 year history of traditionally made nihonto to be made specifically for use on the battlefield. That's why I collect them...they are the most relevant to my parents generation and to my own. Regards...

Justyn, I’m sorry to be the bearer of bad news. I wish you well in your dispute with the Auctioneers. If it would help in any way you can use anything I have said…you can quote me exactly and I am happy to email them directly if it will help. Good luck.

Dear Pierre. Some thoughts for you to ponder, or ignore if you feel so inclined. When Tozando sold this piece their description included the following. "The name Harushige is engraved on the nakago. Harushige is famous as a swordsmith of the Soshu school in the Muromachi period, and this tanto is from the Shinto period. All the koshirae fittings for the tanto are from that period and are very tasteful. It is also equipped with a kozuka, making it a complete package for a tanto." That is somewhat ambiguous as it draws the mind towards Soshu without claiming it. They say that it is Shinto but as we know there are no smiths that fit the bill in the Shinto period. If we follow their description then the Meikan more hypothesis becomes a factor. However I tend to agree with Kirill for the following reasons. Tanto in Shinto are rare as a starting point. This tanto exhibits no signs of the effects of polishing around the machi which are well defined and quite deep. The mei shows no signs of wear, the tagane ato are still apparent in the photographs. The crispness of the nakago, the nakago jiri and the colour do not speak of Shinto to me. Given these factors my conclusion would be that this is by the Shinshinto smith Shinryushi Harushige, the one that Bobby mentioned. My library doesn't add much except that he is in Hawley as HAR95. Whatever your conclusions enjoy this tanto and do let us know what the results are if you do send it to shinsa. All the best.

Writing is more consistent with Edo period, in particular Odawara and other Soshu groups did not sign like this around Tembun. They did do on occasion large nijimei with center-right positioning, but the signature will not have deep cut triangular strikes, and the kanji would have a tad more "writing, cursive" rather than "printed, stamped" appearance. There are some schools which began to sign this way especially around 1550-1570. Yasurime - the depth and coloration and not super typical for shinshinto, but while it is not typical kesho type but at the top it does come at two different angles: its not gyaku takanoha where it comes at two angles all the way, it is just the top. This is more consistent with shinshinto (?). If we assume its Edo period, the work, while little is shown, is definitely not shinto type. So I would seriously consider shinshinto as an option.

Took a few close up photos of one of mine.

Wanted to share this, but wasn’t sure where to post. Decided to revive this older thread. I’ve got this wartime magazine showing “Horseback slashing attack by students of the Army Preparatory School”. I picked up this magazine at a show because I liked the cover so much - I think I will have it framed. Look closely at his sword. It appears to be a civilian fitted sword and with a leather saya cover. Also, I believe that’s a NCO leather tassel. Just some show and tell, -Sam

Hi guys, looks like Kataoka Kunihiro 片岡国廣

Resurrecting this thread. According to Markus and from the interpretation of "Bakugi-Sanko" (see below. image from "Japanese sword mounts" by Markus. "Blade length measures 1 Shaku 5 sun to 1 shaku 8 sun (45cm to 54cm)" That is not tanto/Sunnobi kind of size, as mentioned by Guido at the beginning of this thread. Just happen to be going over this as seen the term years ago and was wondering whether it was a term for Ubu swords of a certain size that are smaller than katana (as in mounts). Going from memories, always assumed they were longer than average wakizashi with longer nakago. There was Samurai that preferred smaller Katana, obviously, by the number of waks we see that are mounted like Katana, but shorter than your pedantic 60cm nagasa. Semantics lol

Dale, I am not sure that so much traffic was caused by the wish to shut the thread down. In my opinion, it is more the concern of many responsible members that so much nonsense should not remain uncontradicted in an otherwise highly competent and specialized forum. But I have come to the insight that the whole discussion has nothing to do with Japanese culture or TSUBA. It is a psycho-pathological thing about being perceived and accepted (even in the form of "friction"), but this forum cannot offer therapy.

These are presentation swords, from the early Showa Period. Most came with Showa To, however, I have seen one with a Gendaito.

Dear Fred. From the images posted both of these look to be low quality reproductions. Further images would help. All the best.

Then we get accused of censoring any potential future "findings" or evidence. Nah, leave it to slowly bury itself.

Locking threads should probably be reserved for when things totally go off the rails or get too troglodyte and troll. This thread has gotten very long at 21pgs. My personal opinion is that it has become a time sink hole. I'd appeal to the fellow members here to move onto something else.