Ron STL

Will try. The nakago is easy but trying to show the rest of the sword (that strong utsuri) is something else. Today was my first day to sit and study the sword, loaned to my by a friend. Ron H.

Hi all - Playing kantei with a loaned (unidentified/a.k.a. "no answer") sword this weekend, and it's a puzzler. The sword at first study appears early Bizen work considering it has strong, strong gunome utsuri throughout and an early looking fairly narrow hamon of midare-kochoji mixture. Its nioi-guchi is rather thick and therefore it does not stand out brightly. What really puzzles me is that the mumei nakago while cut kiri, does show finely made and distinct yasurime of a unique style. The shinogi-ji is made higaki (checkered) while the ji is made suji-chigai (slanting left). Seeing higaki, I studied Naminohira but that seemed all wrong to me. Bizen (maybe as late as early Muromachi?) still seems correct, but this combo-yasurime for Bizen??? Very strange and challenging sword to kantei! I try to study the hamon and jigane first, but I can't neglect the nakago in this case, which seems to contradict my thinking. Does anyone recall some reference to this use of higaki/suji-chigai? There is also some unusual things about the utsuri which appears strongly even in the shingo-ji, but I'll mention that later if warrented. Ron H.

This may not or may not be the place to ask this but...does anyone know of a Per Terje Norheim from Norway? Thirty-odd years ago he wrote an article for the JSS/US after restoring a sword that was made from the barrel of a matchlock. The joint work of two smiths made in August 1945. My intent is to give this article to the JSS/US editor for reprinting it. Mr. Norheim restored the sword and actually spoke with one of the smiths. Interesting story! Thanks Ron H.

This is a topic that I'd like to find some facts, or at least some logical conclusions about.One occasion, I've come across tsuba, usually early tsuba (very early Edo or earlier) that have a narrow slot cut into the seppa-dai. This slot is not a WWII alteration for a "clip" on a gunto. It is intential and is about the width and thickness of tsuka ito. Its placement on the seppa-dai means it would be covered by a seppa if a seppa would be used. I've asked several sword world Japanese about this but nobody has come up with a possible use for this kind of slot. At present, I have three examples in my collection and have found three book examples. Two other examples were seen but not photographed. So this is a two-art topic...first, opinions are sought. Secondly, if you have an example, a tsuba with such a slot, I'd very much appreciate a photograph of it. One day before I time out, I do hope to pull together a well-thought-out article on this topic. Ron H. STL

Any chance of getting a good scan of Yasuaki's picture that could be used in the JSS/US article I plan? It can be sent to me direct...swords@usroute66.net Thanks Ron STL

Thank you Morita, for this good information on Yasuaki. While I have a good library, I do not have either of the books you mentioned. One book purchased a few years ago (a reprint of the original) is "Dai Nihon Token Shoko Meikan." I thought perhaps Yasuaki was listed in that Showa era publication but if so, I have been unable to locate his name there. Sometimes a photograph of the smith in in this book, which is always interesting to see. Meanwhile, I am most happy to have the information you offered!

A friend came across this rather interesting gendai tanto by a Yasuaki who, as the inscription states, was a student of or followed the technique of Toshihide. I'd like to use this tanto for a short article in the JSS/US newsletter but have been unable to locate any information on this fellow. Does anyone have any suggests where to find something on this smith, something that can share some info on him? Ron STL

Thanks guys, that must be it! I'd never gotten there myself unless accidently stumbling across in the DTI catalogue. Figure it was Goto "style" at least. Wish mine looked this good! Ron STL

Can anyone explain that is depicted on this kogai? It's a puzzler to me... Ron STL

Eric, I'm wondering if it would be okay to use a couple of the dragon kozuka photos you posted in my JSS/US on the Year of the Dragon? Maybe you just pulled these off the internet, but then again you may have these in your collect (lucky you!). The photos are so clear and give me a little variety to use for my (short) article. Ron STL

Amazing to see the "set" of female dragons you posted! But I see both of the "female" dragons are looking left (into tsuba if mounted on ura of tsuka) whereas the two male dragons of my set face opposing, one right (as for the omote side of a tsuka) and the other left (as for the ura side). I've looked closely again at my dragons and while both have a "ken" at their tails, I can not see any trace of any "jewel" on either menuki. The primary one (facing right) does have his tongue showing, the other does not. Perhaps there is an explanation of this puzzle but we may never discover it, at least for awhile. An interesting aside, while at the DTI a few years ago, I believe it was Mr. Saito who pointed out the small mark placed on the tongue of the dragon on a pair of Goto menuki. He said that this was an identifying mark used only by that master. Unfortunately, I do not recall which master that was, Tokujo perhaps? Looking closely, I see a small chizel mark centered on the tongue of my primary dragon menuki. As I said, an interesting detail to notice while examining these menuki. Ron STL

Thanks everyone, some beautiful fittings displayed here! Certainly "what it's all about," I'd say! John mentioned the coiled dragons facing the kashira as opposed to the fuchi (or tsuba) but really, the left menuki does face forward (towards the tsuba) and the other does the same when placed on the "inside" of the tsuka. Also, I didn't notice the "jewel" on the left menuki. It is rather hard o see but these menuki are so small, being thumbnail sized, some of this detail is difficult to pick out. Amazing that these carvers could place so much "detail" on something this small. As for why both dragons have a "ken" showing on them, I wonder if because these are so small (perhaps intended for mounting on a tanto or kowakizashi is why they look so similar. If the left one does carry the "jewel" then it would be the "primary" menuki either way, I would say. Interestingly, last evening I thumbed throught he "17 Generations of Goto" and also the very large taikan sized book on Goto (name escapes me) and found not one example of Goto dragon menuki made in the round - coiled dragon - fashion. This leads me into thinking the "coiled dragon" design is not so common among Goto works. Thanks for all the imput guys and gals. Now if I could just pull out some of those wonderful fitting into my own collection...(sigh) Ron STL

Hi all - Perhaps a few of you are not at the Tampa show at this time? I'm trying to pull together an article for the JSS newsletter on The Year of the Dragon, showing various dragon representations on tosogu. One such pair is of gold, attributed to Goto Tokujo; beautiful menuki. Initially, I was trying (unsuccessfully) to learn the significance of the "coiled" dragon. So that is one question. Question two. Then I realized that both menuki depict male dragons since both dragons have the ken at their tails. They are definitely a pair (papered to Tokujo) but I'm puzzled by the use of two male dragons. Any ideas about this??? I'm puzzled! Hopefully a photo is attached. Ron STL

I'm trying to identify the plant used on the inside side of these two early shakudo menuki. I understand the outside position being aoi leaves but this other plant/blossom puzzles me. Any suggests, gents and ladies? Thanks, Ron

Thanks guys, I'll pass this on to the owner. Ron STL

I am trying to identify the writer of a sayagaki. First, I thought it was by Dr. Sato but now I'm not so sure it is. See the attached. A second part of this refers to an article in the NCJSC journal TORON that (if i'm remembering correctly) illustrated a number of sayagaki by various writers. I have searched my issues unsuccessfully. I think this article was within the last two years; does anybody know what issue this appeared in? Thanks, Ron STL

Yes, a magnet was my first test and it does not take a magnet. What you see as rust is some worn off patina that shows up red (copper color). The kogatana is still tight in the kozuka and I've not tried to remove it. Just taking things slow with this; haste makes...well, you know. Strange materials were used at times. I recall the story about a "gold" tanto being at some shop out on the east coast, back in the 1970s I believe. Somebody finally bought it for a song and it turned out to be totally of gold, so the story went. I think this story came from the late Rad Smith then living outiside Boston. Ron

Brian, This is the first such kogatana made of shakudo that I've ever seen. I guess somethink like this was made strictly as an art work since it is definitely is not made to use. I'll attach a couple photos, one overall view and a close-up of the kogatana. The design is simple but good and the katakiri-bori (sorry, I've been writing katakiriba) is delicate and flowing. Ron

Pete - That's what I meant about "the odds," but I still have a problem "seeing" what makes the mei clearly a fake and will work on understanding that. However, the key is in the quality of work, as with swords. How often have we been handed a Shinkai and the workmanship simply was not of his quality. I am somewhat impressed by the katakiriba work on the kozuka, whoever made it. My camera is unable to capture really macro detail, but the attached image shows the fellow's teeth and tongue fairly clear. What tale is this depicting??? Man on right (raised work) with horse and minogane, the katakiriba man looking kind of surprised. Ron

This image didn't take last post...let's try it again, seperately. Ron

This inquiry is about a recently found kozuka/kogatana, a war era bring back. The kogatana is of shakudo with a katakiriba scene. It is signed on the reverse (in typical tosogu fashion), Okamoto Naoshige w/name seal. The kozuka is also shakudo with a combination raised relief and delicate katakiriba carving. The kozuka is signed on its side, Nagatsune (in his odd style of script) w/kao. My question is, has anyone ever seen a combination work like this before or even a shakudo kogatana? Obviously, two famous artists involved here and of course I do know the odds of this being correct, honestly, the mei both look amazingly correct, to my eyes anyway. Kinko Meikan p. 331 and Tosa Kinko Mei Shuroku, p. 298. I've posted some quickie photos and rubbings, if I've done that correctly. If not, I'll try again. Thanks for any and all comments, good or bad. Ron

The motif used on a split-kogai currently under study needs to be identified. Does anyone have an idea what this motif is and what it is related to (story behind it)? Thanks