paulb

Dale, There is nothing wrong with buying what you like. The problem comes when you are buying it thinking it is high quality workmanship and paying the price for it as such. By studying the fine detail and quality workmanship as Michael suggests you can better understand and assess what you are looking at. If you like what you see and are happy at the price then that's fine. But if you buy it believing it to be much higher quality and values than it is through a lack of understanding then it isn't. As I have quoted to the point of boredom Not liking something doesn't make it bad but equally liking it doesn't make it good. Oh and BTW eyes being 20/20 means they are average. The term has been misconstrued to suggest it is perfect but in fact it just describes average vision.

Its early days JP and we will have to learn as we go but as it is a "free trade agreement" I would hope there will be no charges. You are not shipping goods for sale but for restoration and even now if you ship something from Europe to Japan and clearly state it is for repair/restoration I don't think it incurs charges. There may be some additional paperwork., but tariff codes are international and I doubt there will be any special or changed codes following this agreement.

Faust, Can I suggest you do a search here for sword handling etiquette. If not here then on the NBTHK website or other reputable source and you can find great detail about the correct way to hold, handle and preserve a sword. It may be helpful for you. There is no correct answer about wearing gloves, some museums insist on it and they use disposable silicon. People handling fittings seem to use white cotton. Personally I never use gloves (unless requested to do so by the owner) as I regard it as potentially more dangerous with greater slip potential. Whether viewing or cleaning there is really no reason your hand should come in to contact with the blade.

The correct way to store a blade is in a shirasaya. It offers the best protection for the sword. If you have a koshirae for the sword this should be held on a tsunagi. One often sees a blade in shirasaya and it's koshirae displayed on the same stand. Storing in a koshirae, especially an antique or vintage one can be risky. The saya is more likely to have been outside and subject to harder use than a shirasaya and is therefore likely to have dust or other contamination within it which could scratch or promote rust. A blade in good polish should be held in a shirasaya. period.

Hi Piers, I am well over 30 years in to this (actually I think now 40) and am still trying to get a handle on it. Fortunately I have convinced myself the journey is far more important than the destination, otherwise I would be hugely disappointed to realise at the end of the trip I still know so little. I think the shape discussion is as Michael suggested worthy of separate discussion but I wonder if there are two different factors at play as we talk about it. Books tell us to look at shape first. I think primarily because it may offer indicators of the likely age of a blade. The second reason is to determine whether it looks good. That is a much harder to define aspect but I am guessing first and foremost has it been messed with resulting in an unattractive shape and secondly does the overall look deliver the features the observer finds attractive. As suggested above by John the sugata acts as a frame for the work it encloses and needs to be in harmony with it. If it looks wrong it throws everything else off and detracts. So I look at the shape, admittedly briefly at first, simply to decide for myself if I like it and if not I would, rightly or wrongly, be tempted to move on. Provided there are no major issues with the shape then I move to hada and this is where my main focus is. If the sugata is the frame then the hada is the landscape with its numerous intricacies and features. Whatever is formed here then goes on to effect the activity within the hamon. As the dear late Michael Hagenbusch said and I have often quoted "Jigane is the key"

The reason I said it wasn't controversial is because in the original post I made the point as quoted above that I was interested in what people felt rather than what the books told them thus it is a matter of choice and personal opinion and whether that conforms to what books tell you to do is not relevant. so the answer to 1) isn't obviously sugata. I envy you the opportunity you have had to speak to so many artisans, something I haven't done but would welcome should the chance arise.

Hi paul, At some point sooner or later gut feel always has a part to play. Sometimes it just feels right and if I am honest at least half of the swords I currently hold are blades that I fell for even before knowing what they were. They just hit the spot. Of course as my very dear friend and teacher Deryck Ingham always said to me "Buying what you like is fine but study more and you will understand why you like what you do!" One of the reasons for the questions was that we all have our own motives as to how and what we collect. none are right or wrong just different. If what you like doesn't work for me so what? the important thing is that you appreciate it. Also regarding buying for investment regardless of which area you focus I think is generally a bad idea. I often see it used as an excuse (usually to ones self) for spending money but the reality is you should buy it because you enjoy it and the fact you can recoup some of the cost in time is a bonus.

Michael, I agree totally about form following function and the features I admire so much in a blade are there from an original need to improve of enhance functionality. I agree that the majority of poor shape one sees is the result of poor suriage or abuse. When looking at ubu blades and assuming the sugata is the way the smith intended to meet a specific need then it becomes an aesthetic choice as to whether you like it or not. Some I just don't like, thinking about some of the later Soshu tanto or sue Bizen and Sue seki blades. they are ubu, functional but for me a bit uninspiring. As you say at some point scope for another thread with some illustrations.

George, Yes you are absolutely right I am a blade person and my understanding and I am afraid to say appreciation of tosogu is sadly lacking. But certainly the thought process is equally valid and I would love to hear similar views relating to fittings (possibly in a separate thread). Thank all for your answers so far. As one might expect there are considerable difference but also so re-occurring themes which need to be thought about. I think one of my big problems is that I tend to look for black or white solutions when in reality much of what is said and described falls in the grey area in between. A clear example of this is in Nagayama where he describes all hada with the exception of Soshu as mokume. Soshu is the only one he describes as itame. Today virtually everything is defined in a variation of itame. For the record my own answers are below: 1. I look at shape first, as I have quoted often before if the shape is bad it is a bad sword. If the sword passes the shape test then the focus shifts to Jigane. Quality and activity within the hada( as so beautifully described by Chris) are the things that really get me hooked. 2. I also struggle with utsuri. The truth is we don't see enough good examples in the west. When you do it is obvious and stands out as a thing of great beauty but this is all too rare outside of Japan. Also definitions of utsuri type in books is often vague and contradictory . 3. How do you know when to stop? with the very fine and tight ko-itame hada I love you feel the smith is maybe one more fold away from totally losing all hada and creating a bland grainless piece of metal. But they don't and the result is perfection.

Kirill I am not sure why you would think this to be controversial all answers are valid. It isn't what is right or wrong just what is important to you

John, An anecdote told to me many years ago about sorting steel. I can't remember where or by who but we were told: "The Smith using his yeas of experience and great skill sorts wafers in to different hardness's" I said "yes but how?" the answer was he put them over the edge of the anvil and hit them with a hammer. If they bent they went in to the soft pile if they broke then in to the hard. Not sure how accurate it is but it does help to debunk some of the mystique and hype that can grow around a very practical art form.

I wanted to pick up on a point made by Michael S and expanded on by Bruce in the "secret of success" thread. I am not sure if this is the right place or even of great interest to anyone other than me but I would value some ideas. One of the challenges any sword society or study group has is engagement and it is the task of those who organise various events to try and ensure they are addressing the needs and interests of their audience while at the same time trying to broaden their perspective by introducing new, related, material. There is little point in a master chef who specialises in creating the best steak dishes in the world discussing their finer points with the national vegan society. Likewise if the interest of a particular sword group is blades from WWII there may be a less enthusiastic response to a discussion on Kamakura period work. ( I mean no disrespect to either vegans or WWII sword collectors). I would be very interested to have some answers to the following questions: 1. When looking at a sword what are the primary and most important things that you look for. Not what do the books tell you you should look for, but what is it within a blade that peaks your interest and increases your pulse? 2. In presentations and discussions about swords which are the most difficult features/ideas to understand? 3. Given the opportunity to sit down with smiths from the past what are the questions you would most like answered? Hopefully thinking about these may focus thinking a little and help one understand why they like what they do. It would also help those who try and make sure what they are presenting is relevant to their audience. Thank you in advance for any ideas shared

Hi Chris, Congratulations on your new acquisition. You mention it was sold as Shin-shinto, what do you think it is? I cant see too much detail of the hada but there looks to be a lot going on within the Hamon. First impression for me would be shinto rather than later but it may look different in hand.

Don't worry Piers as a penance I have already got you listed for a presentation at one of our next meetings in the new year The formal but necessary part was over in about 20 minutes and that was followed with a discussion around various pieces including a pair of stunning Bizen works (never thought I would hear myself saying that ) and some other pieces that had some interesting characteristics to explore. Looking forward to a full range of Zoom meetings alongside our other activity next year

No problem Ray you were well represented by your fellow countrymen. Hope we can arrange another meeting north of the border next year

Dear All, Yesterday evening we held the annual general meeting of the Token Society of Great Britain. Because of current restrictions this was held using the zoom platform. It is fair to say this year has had a lot of challenges for all of us some far more serious than others. Despite this the Token of GB has had a successful year. Undoubtedly the greatest and most successful innovation has been using zoom to hold a series of virtual meetings. These have proven extremely popular and very well attended. As a result of this and the introduction last year of our regular E-magazine Our membership has increased with new members coming from all over the world. The use of virtual meetings has proven so popular and beneficial we have decided that even when we return to some form of normality we will continue with them as part of our programme of activity. However (you knew there would be one!) We stressed yesterday that although the use of this technology has many, many benefits it is not a replacement for physical meetings. There really is no substitute for the hands on study and related discussion that such meetings allow. We have committed to implement a full programme of meetings as soon as restrictions are lifted. Whatever club, organisation or society you belong to please don't believe that now you use zoom you no longer need to make the effort, or incur the expense of getting together. As soon as we are able lets make sure we ramp up to a full schedule of regular meetings!

I was fortunate enough to win my example in the annual draw here (thank you Jesper) and still use it when doing presentations about sword construction.

wait in line I saw it first 🤣🤣

so do I

I think Mino is a reasonable call although also possibly one of the many rural schools that were trained in Mino techniques. At the end of the day it is an unsigned sword from, I am guessing, mid 17th century and has some features worth studying.

Gwyn, Despite the blades past I think the blade is recoverable and worth keeping so please don't "trash it". While not a great work with the right polish I think it could be perfectly acceptable and something that can be learned from. cheers Paul

Poor acid polishes are not unique to the UK Brian, I have seen equally poor work done in the USA and Europe. These were particularly common here in the 80s and 90s and hopefully we have moved on and they are a thing of the past.

Very sad news. I enjoyed several enjoyable discussions with him at the DTI about our shared mutual interest in Yamashiro work. He will be greatly missed RIP

unfortunately it is not original. It looks to be a low cost Chinese copy

Geoff, I am sorry to throw a negative in but to try and assess school period or anything else from a sword in this state of polish is not realistic. Also the chance of identifying utsuri on this blade is nil. It is hard enough to identify it on some blades in excellent polish. The only thing you can determine is the sugata and that might give you an idea of age but to try and identify anything else is guesswork and wishful thinking.