ROKUJURO

Very beautiful, but sadly, I cannot contribute to the history or data.

I think I can read NORIMITSU. Probably a KANZAN HAKOGAKI.

I understand exactly what you are saying! It may be different in case this was your daily work.

It seems they succeeded to get everything wrong in the description....

Robert, good old tools are a source of satisfaction and potentially of good work as well! My customers who order traditional tools are always fascinated how easy it can be to work with them, but you have to practice it to believe it. Often, the promised advantages of power-tools are not that big, and you have to accept a lot of noise using them. Did you ever watch a well trained guy mowing with an ergonomically fitted scythe, early in the morning, when the high grass is still a bit wet from dew? It is a real pleasure to listen to the faint noise the scythe blade makes when cutting, and the grass falls forming nice patterns along the rows....AND it goes fast! And working with a good KANNA (= plane), not in these competitions for the thinnest shavings, but in real-life woodwork? Very satisfying as well! As a boy, I could watch the craftsmen in the sculpting section of a cabinet-maker's workshop (in France then). No machines, silent, concentrated work, not much talking. After more than 60 years, I still remember the smell and the tiny sounds the sharp cutting edges were making on the wood. I once asked a guy why he used so very short chisels (I had known longer ones from my father who was not a professional woodworker). He replied, smiling: 'They are my grandfather's...'. Still perfect for fine work!

Piers, as you are living in the midst of Japanese culture, could you perhaps ask the opinion of the 'natives' about this?

I thought that these were CHIDORI. They have a very different flight pattern compared to KARIGARE. This depiction always expressed the erratic flight - often in large flocks - of plovers in an appropriate way for me. But that is just my interpretation.

Yes Dale, I think so, too. But the pictured birds are probably not KARIGANE but CHIDORI?

Welcome Dr. Faustus! There is a lot of information stored here, so have fun learning! Kind regards, Jean P.S. There is no "presenting" swords unless you run a museum

I was referring to Dale's post above. Maybe we can find out how it is thought to be seen the Japanese way.

Stanila (is that your first name?), SHODO is a general term for the art of writing (calligraphy), but this looks indeed like a hot stamp in grass script (SOSHO). Most swords have a YOKOTE when they are executed as SHINOGI-ZUKURI. In fact, all military blades are made this way. Your sword's NAKAGO looks brand-new, so likely not Japanese? Some good pictures would help!

Thank you Mauro, I did not formulate my question properly. When KARIGANE are depicted as small symbols, where is their head and where is their tail, respectively? I am afraid I got this wrong in my interpretation, probably the longer body part is the head/neck? In a more naturalistic depiction, it is easy, like on this one below:

Dale, it looks like a ginger cat to me!

Thank you Mauro, of course KARIGANE! I don't know why I mixed that up. The question remains: In what direction do they fly?

Dale, your post implies an important question to me: In what direction do the KARIGANE fly when they are depicted that way? I always assumed the LONGER body part was the tail. Am I wrong? And there are more TSUBA with similar design out there! One from my little collection - no idea where to locate that one!

Just by accident, I found this on YouTube: I get the impression the author is using old data sheets, which may mean that newer research was not done. Basically he is telling nothing new or surprizing.

JH, the photo is slightly out of focus. If you want to post a better one, please use a dark background for better contrast. I also read KANE for the first KANJI, but the second is not clear. It could be NAGA or HIDE or something else. Please sign all posts with your first name so we can address you politely. It is a rule on NMB.

Robert, analyses of TAMAHAGANE show that it is very pure, regarding alloy metals, but I have no data of KOTO and SHINTO era steel for comparison. What I think is important is that there is a very narrow temperature margin in the bloomery/TATARA process. Unlike many other metals, iron has a slightly wider temperature span between 'solid' and 'liquid'. This feature is making the direct reduction process possible. But you cannot leave this temperature area by much without metallurgical changes taking place. Usually, the intent is to have a good degree of efficiency in the process which rises with the temperature. Celtic and early medieval bloomery furnaces were around 30% (= 30 kg iron from 100 kg of iron ore) and were run at about 1.250 to 1.300°C. The temperature in a TATARA can be even a bit higher which means that near the vents, the iron wil be closer to melting temperature. The problem is that with rising temperature, the iron 'absorbs' more carbon. The malleability of iron ends with a carbon content of 2,02%; this is the limit where cast iron/pig iron starts to be formed. Crystallization can only take place from a liquid state, so if TAMAHAGANE was made at very high temperatures (= above 1.350°C), there is a high risk that it would not be workable on the anvil. Cast iron (roughly 2 - 5% C) will shatter like a cookie under the hammer. As far as I know, historical Japanese iron technology is not known for decarburizing processes (with the exception of OROSHIGANE, but this worked in another way) as we had them in the Middle Ages in Europe. So, the Japanese were forced to stay with the TATARA method. We should not forget that in medieval Japan, ALL iron was produced solely in TATARA, and most of the products coming out of the forge were made from (low carbon) iron, not steel! This was the same in Europe, by the way. Coming back to a potential technological leap after the KOTO era, a slightly higher carbon content in the steel might indeed make a difference in working it and in the properties, but we can exclude 'secret' alloy metals mixed in the TAMAHAGANE - or missing in EDO times. There are still more factors which can influence steel properties and the performance data of steel blades, but that would lead a bit far. BUT we should consider the fact that - starting with EDO JIDAI - many swordsmiths no longer made their own steel, and as you know, there is a big difference between potatoes that you grow in your own garden, and those you can buy in the supermarket!

Steven, you will have more luck in the "FOR SALE" section.

Two NISHIGAKI on the right, an AKASAKA on the left? What do I win in case I am correct?

And Chris, we should not forget that these are mostly still handmade! Probably not by renowned Japanese masters, and not old, and often made in series, but still individually made by skilled carvers. It is a good idea to learn from these objects about design, material, artistic expression, and execution.

Jared, by the less-than-ideal photos, we cannot come to a satisfying or even safe asessment of what that is exactly. I would not exclude that it might be an older traditionally made blade, but in making such a claim you take some responsibility. The experts here do all they can to help, but the possibilities are limited. And what you may not know yet: Even if it was a traditionally made sword with some 100 years of age, this would not necessarily mean that it could be restored at reasonable cost, considering our actual market. This may change in 100 or 200 years, but we don't know now. My personal view is to "save" every handmade blade if possible, because - as you said above - a lot of skillful work went into it. But there are individual limits in what is financially possible and reasonable for an owner. I own a few unpolished blades myself, and I like them, but I don't have the means to have them properly restored. It is not only the € 2.500.-- (minimum) for a KATANA, but you need a new HABAKI (€ 400.-- to 600.-- in normal execution - no solid gold or such!) plus SHIRA-SAYA ( don't know how much, but at least a few 100s). Plus papers plus shipping and handling..... So, as they say, the sky is the limit. What remains for us collectors is learning - and patience. We do not have and train that in the West, but it is necessary to move forward. Read as much as you can, look at pictures, learn Japanese, join a club, visit museums and exhibitions, and already in 40 or 50 years, you know a lot more!

Chris, with better photos, you will probably get a comment. Plain dark, non-reflecting background (not THAT flower vase!), presented as cut-outs, and nicely focused would help. I admit that these small objects are really difficult to photograph. You cannot go too close, and you need high-resolution. Making good photos of them is an art in itself.

Sam, I know and understood well. But if someone (Laters) comes to this wonderful forum to learn, the terminology is the first thing to adapt to. This may appear strange and difficullt to some newcomers, but it is the way we all had to go if we wanted to dive into that theme. The funny thing is that even most native Japanese have to learn the terms and the correct reading of names.

I think we have something in Europe that may be comparable: a Purveyor to the Royal Court, otherwise called Royal Warrant Holder. The titles don't tell much about the quality of the products.