Grey Doffin

Paint stripper is the obvious answer for getting rid of the paint but that will most likely change the patina of the saya. If you do use stripper, don't clean it with water (even if the can says to use water). Denatured alcohol will clean off the stripper and paint but won't cause the saya to fall apart and won't introduce a lot of water into the saya where it can rust the blade. If you do this be sure to let the saya air out for a week or so before returning the blade to it. A better solution would be to send the sword to a saya-shi (scabbard maker) and have him do the job. If you chose the right person (John Tirado comes to mind) you know you'll get a proper job. To remove the handle, follow directions you'll find here: http://www.nbthk-ab.org/Etiquette.htm on the NBTHK American Branch website. If that doesn't work for you (if the blade hasn't been out of the handle for 60 years it may be stuck) try this. Place a bath towel on a kitchen counter, with an inch or so of the towel hanging over the edge. Remove the pin (mekugi) from the handle. Lay the blade on the towel with the handle over the edge of the counter. Slide the handle into the edge of the counter, gently at 1st, and with increased vigor, until the blade comes loose from the handle. Grey

Hello folks, Many of you are familiar with my "Index of Japanese Sword Literature", but for those who aren't: this is a combined index of 60 or so periodicals and books. If you want to know where to look for information/oshigata on a sword signed, "Unshu Ju Kiyonori", you can look him up in the index and it will tell you which of the included references cover the smith. 3 indexes actually: one on smiths (over 3,000), one on kodogu artists, and the 3rd on articles (polish, grain, etc.) I've done the work but the index belongs to the JSS/US. We last published it in 1997 but since then it has been kept current and expanded greatly, on my computer. We, the JSS/US, would like to make the index available to everyone, free, as a searchable database on the JSS/US website. That's where I'm hoping one of you might be able to help. I don't know enough to convert what I have on my computer to what will work on the website; I need a computer person. If there's a chance you might take this on, send me an email (link below) and I'll get back to you with what I already know about the project. Take care, Grey

Makes me feel better about being called a loser. Wonder how he managed to keep 100% positive feedback. Grey

Once again I have someone wondering if the sword they have listed on ebay is real or fake, and not anxious to take my word on it. If you wouldn't mind, check out this sale: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=110237277705&ssPageName=ADME:X:RTQ:US:1123 and give us your opinion. Thanks, Grey

I wouldn't use oak of any type as a tsunagi, for 2 reasons. First, oak splits easily along its grain and is more prone to checking than many other hardwoods; I would expect trouble in areas of short grain. Also, oak has a naturally high tannic acid content and any iron in the koshirae might be corroded from contact and humidity. I don't think a tsunagi has to be as hard as oak either. Soft maple doesn't have the negatives and it is straight grained, easy to work, and readilly available. Some of the birches, basswood, and popple also come to mind. If I were making a tsunagi blind (without a blade to copy, something I've actually done, by the way), I would start with cardboard. Once I had a shape that fits easily into the saya I'd transfer to a piece of wood of the proper thickness and plane the surfaces. The tsunagi doesn't have to be a tight fit in the saya; the habaki (also wood) does that. Because oak splinters more easily than other hardwood, it might not be the best choice for a boken either. Maple or beech seem appropriate. I've been a professional furniture maker for over 30 years, which is why I think I know a bit about wood. Grey

Actually, there are quite a few fakes of lesser known smiths. If you make a fake of a famous smith you have to be pretty talented to fool the unsuspecting; a fake of a lesser artist is easier to produce. There are many references for the famous smiths; easy for the buyer to check the work. With chu-saku and lower smiths there aren't as many oshigata for comparison. I've seen a few Gunto (WWII era swords) that have had their nakagos patinated and signed with the signature of a nearly unknown earlier smith, a total nobody. Impossible to check those signatures against oshigata In other words, you still have to study. There are no short cuts. Grey

Mariusz, I see what you're asking about. It looks from the pictures as if the nakago might have been reattached to the blade, either through a weld or some sort of glue. If there is a weld I wouldn't expect a hamon at the machi, unless it is cosmetic. I've never heard of nakago being glued on, although I spose it's possible. Of course, this is just conjecture; I can't be certain one way or the other based on photos. Tsuba wear might be another explanation. If you were thinking about bidding you should write the seller and ask him what's happening there. Grey

You could cut a new ana, but then it would be much easier and achieve the same results, if you instead gathered together a bunch of your money and set it on fire. Don't do this! Please! Grey

Hello, Your read of the signature is correct. My guess is that this is gimei. Not only does this mei differ a lot from the example in Fujishiro (my reference of choice to turn to) but the yasurime are totally wrong also. Grey

The blade has been shortened. If the lower mekugi-ana is the original, the blade had a very short hi that did extend beyond the habaki. If the original hole has been lost (below the current nakago) then the hi would extend even further above the habaki. In other words, the hi never was in the nakago only, until the suriage took place. Grey

The first instance of sukashi hori on a tanto that I can think of was done by an obscure smith from Soshu: Masamune. Grey

To avoid duplicate efforts, I sent Phil oshigata from Yushuto Zuroki, volume 1, and Nihonto Zuikan. Grey

Dino, 2 obvious choices are Sukashi Tsuba: Early Japanese Sword Guards, by Sasano, and Sasano: Japanese Sword Guards Masterpieces from the Sasano Collection, by Sasano. The 1st is out of print but found occasionally (I just sold a copy) and the 2nd is available (I believe) from Robert Benson in Hawaii. Check on his webpage found in the links on NMB homepage. Grey

Mike, Can you tell me (us) what the nakago (tang) feels like? Is it smooth and waxy black, coarse and dry to the touch, or something between? Grey

Hello, I'm sure someone better with Kanji than I will help you with the translation. I want to tell you to whittle a new mekugi. Without a mekugi, if the sword is jarred the blade can crash down inside the scabbard and shatter its point. The mekugi is very important to the sword. Chopsticks work fine for this. Grey

Brian, Sorry, but it doesn't work that way for me. All icons are the same color and there are no icons to show the difference at the bottom of the page. I think my computer is possessed. Grey

Brian, I switched from prosilver because my user profile tabs were hidden. I'm now using nihonto. I tried to refresh/reload the icons as you suggested (at least I think I did what you suggested) and nothing changed. Sorry to be a pest but this is frustrating. I'd like to continue with NMB but not if it's this confusing. Grey

Brian, On what I believe is a related topic, I'm still not able to tell at a glance which of the forums in the main index have new material for me. The logos at the front are always all the same color and not moving. I suppose that could mean that all have new material or that none have new material. However, if I check into the forums I find that some have new and others don't. Once in the forum it isn't much better. There are different colors and different logos, and if any of them mean new material I haven't been able to figure out which and why. I would like to be able to easily tell what is new. Used to be the new stuff wiggled at me and that worked fine. Either the new rig is too complex for me or I'm too dense to catch on. Any suggestions? Thanks, Grey

Andrew, Without better pictures I don't think anyone will be able to tell you much, although it does look much, much better than the other. If there is no handle you need to be very careful with this. Without a handle with the pin through the sword's tang, the blade can bottom out inside the scabbard and chip or shatter its point in the scabbard bottom. You would be smart to jerry-rig something to act as the handle to properly seat the blade in its scabbard. Grey

Brian, How do I find my profile so I can change my theme? Grey

Brian, And if I were to try a different theme (whatever that is), how would I go about it? Thanks, Grey

I have a different question about the new rig. When I log on to the main index there is nothing to tell me which forums have new material. On the old rig the bells were swinging if there was something new; on this one all is still regardless. Also, once inside one of the forums, I'm not sure which of the threads has seen activity since my last visit. Some are a different color and one just now had an animated (moving) logo at the front. If someone could enlighten me I'd appreciate it. Grey

I think Remy figures it has been polished down a lot (the difference of thickness above the nakago) and thus calls it tired. This isn't the result of over polishing; it was made that way and was made to be mounted as is, without a habaki. Very interesting piece. Any idea which Kuniyuki made it? Grey

Daniel, It would be great if were possible to answer your question; I could have read a few pages of text 20 years ago and saved myself the effort of getting to the limited level of understanding I'm currently occupying. I don't think there is an answer to your question, a short cut to understanding. You have to see great swords to know what makes them great. You also have to spend a lot of time in reading/studying. Find collections and beg your way into them; there must be a few in Singapore or nearby. Art and historical museums often have swords hidden away in their basements; A call to the right person can get you in to see them. Splurge on a trip to Japan and see everything you can. Buy books and study. If you're serious about Nihonto, this is the only way I know to make sense of it. Someone will now write in with a couples paragraphs of wisdom and prove me a bone brain. Any case, this is my take on the subject. Grey

So much for the seller's claim that this is pre-war. It's a Gunto from WWII. Also, wonder what he means by "The sword being sold or stole with NO RESERVE." Grey