Kam A

I received a sword (Nihonto) a couple of weeks ago. It took almost 3 weeks once it hit our shores to get to me. Having dealt with the idiots at Border farce and the lunacy that goes with our current politically driven crap that they regurgitate I have found that the best approach is to let them take their time and it will arrive without issue. Over the last 10 years I have had increasing delays and a number of missing items (sticky fingers) that eventuallyl get returned with some legal pressure I have to fill out their forms regularly and I have never been asked to have the blade authenticated. I might be wrong and something may have changed in the last 2 weeks but I suspect using a broker was the cause of your misfortune as it is the only times I hear of such stories. Like using UPS will result in you owing excessive duties that would otherwise not apply. Kam

Hi Steve (and everyone else) Your comment about the Mizukage is relevant but usually is more to do with Yakiri. Most of the welded nakago I have seen usually have a misty look about 1 - 2inches from the hamachi and sometimes nothing obvious. We can only speculate as it is one tiny photo with no other obvious visual clues. Based on what info is available I am still inclined to go with the idea of re-claimed length based on the small munemachi that is of similar size to the hamachi. The habaki is not an indicator as it may be "this will fit" replacement, either way it does not look right. The nakago does seem at an odd angle but without seeing the full sugata.. If one was to weld a nakago then it would be a major over site to leave something so obvious as a misplaced ana raising suspicions and therefore a futile effort wasting time and skill. In regards to habaki being stuck this is a common occurrence and can be caused from many things including climatic timber shrinkage in the Koiguchi or just a mismatched saya. Too many variables and only one small picture Just a thought Kam

Hi Grey, yes that would be reasonable to assume but then this isnt the first time I have seen this type of thing and I guess that would depend on the togishi and if that was within his skill set. I understand your view Ed but patination and a number of other factors say no to a weld and the surface of the nakago should remain unchanged by human intervention unlike the blade which has seen many polishes. Therefore the surface of the nakago is now "softened" by age and will reflect light differently from the "crisp" lines of the polished blade surface. Kam

Hey Jim Yes we all continue to learn and what I may have felt to be true 5 years ago I may now know more and therefore my opinion and knowledge adjust to reflect this. As a craftsman I think I have continuously adjusted what I feel to be new levels of quality and am never really satisfied with my own work as something will always come along and challenge my perceptions on what I would consider exceptional work. Kam

That Koshirae would be exceptional if restored properly. The samekawa is highly prized expensive and difficult to obtain. I will asume that you will be getting a new habaki and shirasaya made for the freshly polished blade as u would not want to risk housing it in the original (and hopefully restored koshirae). I think this is agreat project. . .I hope you get much pleasure from the process and the results Kam

There was an article on the Usagiya website about a suriage blade that through re-working the mune and hasaki had reclaimed its original length. I had a quick look but I could not find it, Im sure with a bit of a search the article could be located. I suspect that is what may have occurred here with the blade you have presented resulting in the unusual placement of the mekugi ana. Kam

I occasionally get requests for this type of garish type of work and my usual reply is a straight no. Using any material that was taken from a living creature that does not serve a primary practical function is not something that seems sensible and maybe just ostentatious . Yes traditionally it was done on the rare occasion and some may have used things as Tiger tails etc to show status etc but the end result is an over the top Koshirae that served little function than to stroke the ego. Maybe consider one of the many options available (lit in the 100s) that is more responsible to our current environmental times and more in the vein of the enlightened warrior. I realise this post may get some a little ruffled but I have thick skin and I am happy to hear a counter argument. I will also point out that collectors and enthusiasts need to research whom they get work through, I have more re-work coming my way than ever before, mostly poorly done shirasaya and Koshirae work due to amateur or just sloppy craftsmanship often coming from some popular and oddly recommended sources. Unfortunately some of this work also contains some big name blades that have a less than satisfactory polish job that could bring tears to the most cynical hardened collector. . . . and it is all reportedly coming from Japan????. These can not be by professional craftsman. I recently saw a Daisho that had received some online attention. In the flesh I was surprised at how terrible it was (not to mention cost). The Lacquer work appeared as if it was spraypainted (sposed to be ishime). The 2 saya were that bad that the blades would twist and rub as it was removed or inserted. The tsukamaki was uneven, and even had raised sections on the mune and ha sides. The polish was worse than I had seen on most amateur jobs. I dont even know how to describe it but suffice to say the only thing that looked remotely traditional was the poorly done Hadori, otherwise it just had this shiny translucent look. There are so many more examples but you get the idea. In this case you dont always get what you pay for Kam

Alex I feel I have inadvertantly ruffled your feathers. So I will give a friendly reply. . -this (below) Grey Yes for some this is true, depending on if you are collecting for historical context. Lucky for some of us craftsman others collect for other reasons including above mentioned collectors. Kam

Bazza is quite correct. Choices and options are as wide and varied as opinions. I even have a couple of clients that collect Koshirae only (without blade) this also includes having classic koshirae styles made for an existing tsunagi only. . . . Kam

Hi Alex There seems to be a number of differing theorys as to what and why to collect etc. In the instance of Koshirae some people may be very much inclined to buy only "edo period" (ambiguos age) koshirae while there are some that only want pristine quality (difficult to acquire with any age) and are happy to hae modern examples. Some may want an old tattered "original" koshirae and would never dream of repairs or adjustments of any sort. Personally I think Koshirae should be viewed as they were intended. . especially as Koshirae served a function to be replaced once worn out. There is nothing wrong with collecting purchasing koshirae of any age as long as context is taken into account and price reflects craftsmanship. The cost of a new koshirae inc fittings is not cheap, so in this instance taking into account the cost of replacing the tsuba (rarely guaranteed to have been the original intended peice) and then comparing to the cost of having something crafted of simmilar quality. . . this is not a bad deal.

Hi Aogai nuri was highly prized and at one stage quite expensive. The new tsukamaki is reasonably well done. . .do like the turtle menuki as well. Overall while not completely an original (as made) still a nice ensemble and would take little work (from someone that knows what they are doing) to reguvinate the lacquer work and bring it to a feeling of being a completely related and "whole" as opposed to the slightly forced feel that the newer same and ito tend to give it. Just my thoughts while I finish my cup of coffee. Kam

. . . whatever color you like, I realise this isnt the answer you wanted but the question is just as vague. Saya and same needs to be taken into acount as well as whether you wish to pursue a classical or contempory approach and ultimately it comes down to taste. Example of someones taste as an example. . def not my thing but someone thought it was a great idea

Save the fittings and if the blade reveals anything that appeals then shirasaya. My lunch time opinion

Personally I believe it had started its life as a Yari. Tanto and wakizashi conversions are not rare. . but that is just my opinion. As for sizes of yari etc, here is a few old pics of one from my collection after all the rust and pitting was removed (in other words it had a fair bit of steel removed) Nagasa 25cm. Kam

Hey Tony I had a piece of celluloid Same that you mentioned floating around. . .so I attached a pic. Kam

At a glance it apears that these tsuka have been "re-worked"? Anyway the material is leather. . doubt this one was original. . but yes Deer leather is often used as is hemp, silk and even bamboo strips can be used under the Ito. In regards to the Same there are various Types of same, the type used during ww2 on navel gunto was Ai same (true shark skin) as opposed to Hon same (which means lit - "true same" but comes from a sting ray). I have attached pics as ref. Unfortunately they are the only ones that I own that I can find in my old files on this computer. If nessacery I can access my work hard drive for moredefined images but I think these suffice. Directly related to the question is the interesting inclussion of Yanagi same on the Gunto tsuka. . .out of the hundred or so Gunto tsuka I have seen I have only ever seen 3 with Yanagi. Kam

After some consideration and a large amount of emails/phone calls regarding my participation on here it has become apparent that a little perspective on my thoughts of the future of Nihonto as an art form (shinsakuto) and what I feel may seriously affect its continued survival especially outside of Japan. Disclaimer: this is just an opinion based on my observations so chances are some might disagree. Working outside of Japan as a craftsman means that I see more oddities and questionable swords on a regular basis than most, some are obviously not Nihonto and some just leave us stumped. While it would be ideal to just see true quality Nihonto all the time the truth is outside of Japan it isnt always going to be likely . Instead I on a daily basis get emails with very unresearched questions and often aggressive attitudes with pictures of all sorts. . . I have also learnt that there are no definites only educated guesses. . . not every odd looking blade is a "chinese fake"! So by default I can now recognise the fakes etc relatively easy but no I dont know much on the paul chen, hanwei or what ever brand of who made what, when etc. . . . just not my thing I am however seeing some impressive fakes and they are only going to get better. . . and I would prefer to be on the top of the game. Now if you collect Koto blades chances are you are not going to have to worry to much about said issue but Gendai or even shinshinto then could be an issue as for shinsakuto . . most definately It seems (going by memory of past threads) that this topic stirs a lot of emotions and the kind gentle folk sometimes become obnoxious bakemono . The problem is real and it is not going away so without civil discussion and shared information it will continue its cancerous spread through the gates of ignorance (i should stop watching "the Tick"). I like many others like quality shinsakuto (maybe its all those years bladesmithing) they, if nurtured will one day become historical art pieces. . . I for one would hope that I have facilitated in that journey during my time in this hobby. Just some thoughts to ponder so please be nice. . I have the Flu Kam One of my favourite Shinsakuto. . probably the best example from Hidehisa

Permission granted I too have enjoyed this thread so I must return the gratitude and say Thank you to you kind sir . . . now where is that shovel? Kam

Sorry but I just have to. . ."stroke it, stroke it!"

This is like politics. . ignore all previous points made and just repond with regurgatated retoric and nothijng insightful. I am now off to find a shovel to bury the poor horse Kam

I tend to agree with Drjoe, he has listed the questionable attributes and they are definately "questionable". On the other hand good going doing your home work and the observations you have made concerning the strokes in the mei. I think the real give away however as many have pointed out is the acid tripping Nakago. I also understand your sentiments regarding this and I have witnessed some terrible shinsakuto with muji hada and dead hamon but the lines are relatively straight. I have seen some terrible Nakago including one that looked like an icecream stick and another that looked as if the smith decided to let someone else worry about finishing it off. . but it was still fairly straight. Even then. . who really knows whats going on even in Japan. . . I wonder how many people here have fell victim to Daimyo54's fake yari that often have saya that come from china Kam

Marius While this blade is of questionable origins I dont think anyone expected "rapture" I believe the OP asked a question hoping for some insight that may further his interest instead he largely received dismissive mostly one liners with very little to go on. Sitting on your "high throne of opinion" making declarations of worthiness without explanation is of very little value and if anything potentially disheartening to the Newbie. I have heard more complaints about the behaviour here than I have heard positive which is very disapointing considering the wealth of knowledge. . .maybe some of you need to consider an "elite club of distinguished Nihontophiles" where those pesky ignorant commoners cant gain access and disturb your intellect with uneducated guesses or pictures that might melt your retina's. . . . I was going to suggest a new approach but it seems evident that isnt going to happen Reuben . . . I see this is your second. . umm attempt to post a non helpful (except for Marius's ego) statement Greg, do not be disheartend while it is hard to make a call on what you have based on the pics maybe finding someone to look at it in hand is the best approach. I will pm you with some possible options. Lastly I suggest the elite consider these aspects and then they might see why I am not convinced either way -have a look at the niku on the Nakago in the first lot of pics. . . not typical of "chinese production work". . this could have been done by the previous owner but never have I seen (and despit Guido's claim of "expert" i have not seen them all) this fresh from the production line. -Koshirae is obviously not original (as outlined earlier) -Uninspired hamon with tight noiguchi foun often on low end shinsakuto as well as production stuff -Hada. . a few claimed no hada yet looks to me there is some sort of jitetsu texture. . I can see what even appears to be chikei. I have not seen this style before on production stuff but I have see it before. . .pic supplied (Rice cracker). . . this will be what it will be and I hope the OP is succesful in getting a difinitive answer and regardless of the findings I would think it great if he posts his findings so we can ALL gain from it. Kam

As pre mentioned "variables" ....if you are to run a business you need to make a living as well as cover overheads etc. while it is economically preferable to have it back in the clients hands = money in their pocket it does not mean it is always achievable due to variables. If a flaw becomes apparent and needs to be rectified or the blade reveals more issues than expected (and this could be before your blade) then it takes more time, if the craftsman becomes sick/injured ..more time. As there are more problems that arise regularly then the time taken to achieve the best outcome is not always predictable. If a togishi takes an extra 12 months due to xyz then as long as I receive the best job he is capable of then I am happy. As Some togishi get established and build their reputation then naturally they will have long waiting lists as do some sayashi...I have a 2 year backlog for koshirae....this is the nature of handcraft by an artist/craftsman and not done in some sort of factory assembly line concept. Kam

As it is a a craft of multiple variables It is very difficult to give a true time estimate. There is a video that has been discussed here about the Deshi of Sasaki sensei that has been uploaded to YouTube. Sasaki sensei mentions a blade that has been in waiting for 20 years . Kam

. . . .all that time I was under the impression I was watching American Dad. . . .I thought there was something odd about the "maple leaf tea" I was drinking.. . . . I will now stand in the corner and think about what I have done. Kam