Grey Doffin

The nakago ends at the machi but the top of the nakago is polished and should be oiled with the rest of the polished balde, if you are oiling. Grey

Hi Tyler, The signature is Kiyonori and I think there is a good chance he was working in Bizen Province in the 16th century. But others who know better may have a better idea. Grey

Congrats on the sword but I don't like the "general advice" to drill a small hole in a tight mekugi. Never heard of it, never used it, and sounds like an excellent way to mess up the nakago with a drill bit. A stuck, brittle mekugi can be removed without resorting to fast moving tool steel. Grey

Hi Jay, The nakago and habaki look poorly done. Can't be 100% sure it is a fake but even if it isn't I don't think it is anything you want to collect. Grey

Hi Vitaly, I would stop where you are now. You have cleaned off dirt and grease and you should let well enough alone. Patinas on soft metal fittings often will heal themselves over time. Even if they don't, the wear on your pieces are where they would be expected with use and you may regret any fix you attempt. Grey

Honoki is chosen for, among other attributes, its little or no acid content. I don't know the acid content of alder. Grey Doffin, furniture maker

Thank you Moriyama-san. So this is a statement of ownership rather than a signature of the smith? Grey

Hi folks, Can someone give me Romaji and translation for the picture below? Not sure if this is a mei or possibly something else. Much appreciated. Grey

Colin, You're on the wrong page. Click on Index of Japanese Sword Literature on the top bar, once there click on Sword smiths, and I'm sure you can figure the rest. Grey

Strange. I get 12 results with a search of iga kami. Grey

Hi Colin, You got no results because you searched for Iga no Kami. Try Iga Kami. Grey

A situation like this is one where the Index of Japanese Sword Literature on jssus.org can be quite helpful. Go to the index of swordsmiths and search for iga kami; the result will be all instances of smiths who signed with that title and made it into the many references included in the index. Grey

The tsuba has an ishime like finish: tiny pebbled or hammer worked. However, the surface doesn't look right for ishime and it appears the finish carries over into the mei, especially into the kao, which wouldn't be the case if the mei were chisled. I'm going to stick my head way out and suggest that this may be a cast copy. Hope I'm wrong and waiting to see what those more knowledgeable have to say. Grey

Cheers, Grey

I don't think there are many early Edo iron tsuba that have never been mounted. May not be as early as you think. Grey

How many soldiers, men actually doing the fighting, would have worn swords with kogai? Not many, I bet. I think swords with kogai were largely worn by Samurai who didn't get their hands dirty Grey

Taking the picture against a dark background will help. Grey

Perhaps: Zuikan Toso no Subete. https://www.japaneseswordbooksandtsuba.com/store/book/sword-books/b351-zuikan-toso-no-subete-by-kokubo-kenichi/ Grey

me. Grey

Hi Aaron, Here is a care and handling brochure you should read: https://nbthk-ab2.org/sword-characteristics/ Resist all urges to fix anything on the sword; well meaning amateurs often do damage. Cheers, Grey

For a comprehensive look at tsuba, you'd be hard pressed to do better than Tsuba Kanshoki by Torigoye. The 1975 edition is in Japanese and English. https://www.japaneseswordbooksandtsuba.com/store/book/fittings-books/b823-tsuba-kanshoki-by-torigoye-1975/ Tosogu Classroom by Fukushi as translated by Sesko and published by the JSS/US and NBTHK/AB & EB, is another good one. Grey

Sorry but I have to disagree. I wouldn't use steel wool of any grit on any tsuba and certainly not on one with shakudo and other soft metal. I think the steel wool is too aggressive for the iron and I'm sure it would do serious damage to the shakudo and silver. Normally I use ivory on iron tsuba but when there is a bunch of soft metal to work around I've had good luck with a fiberglass pen, a tool for cleaning electronics contacts. It is easy to work into corners and doesn't scratch the iron. Grey

Hi Carlos, Youtube has how to videos for rice glue. It is preferred because it doesn't color the wood, it won't damage a polish if any squeezes inside the saya (as long as it is given time to dry before he blade is inserted), and because it is traditional, which means a lot in this field. Grey

Not wanting to hijack the thread and turn it into gluing but... A big reason for recommending the paper bands is that an amateur can do them and not get into trouble; not so with any glue. Hide glue is probably safe but will work well only if pressure is applied, not something an amateur is likely to know. And what if the 2 pieces of wood aren't perfectly in place when the glue sets? BTW, rice glue isn't difficult to make; if you're going to glue a saya why not do it right? Parker, to answer your last question about restoration. There are crafts people in The States who can do the work but the ones who are properly trained are booked years in advance and they aren't inexpensive (you're looking at $3K give or take to have your sword done right which, BTW, will get you a new scabbard, as there isn't a lot of sense in keeping the old one.) You could look for a restorer who charges less and works quicker but he doesn't do good work and needs to find a different hobby. Also, you don't know enough to do a good job of having your sword restored. This isn't a dig at you; all beginners at Nihonto are in the same boat. I recommend putting the bands on the scabbard and handle, making a new pin, putting a very light coat of machine oil on the blade, and taking serious time to learn about what you have. The more you understand if and when you get your sword restored the happier you'll be with the results. Grey

Why would I do that? The paper bands are 100% safe and reversible, do a great job of holding the saya together, last for years, and are easy to apply. Hide glue risks damage. Grey