Ray Singer

The stuff of nightmares.

A good place to start: http://ohmura-study.net/900.html

Please don't take this as an insult, as I am sure that the sword has sentimental value as it was received as a gift from a family member, but in terms of the object itself it has very little resemblance in any way to an authentic Japanese sword. Aside from the way that the sword has been signed and the fact that it was not signed in Japanese, each attribute of the sword is a very poor reflection of the way that a Japanese sword in gunto koshirae looks.

Hi Tony, sorry for the bad news but this is unfortunately a fake.

What I was told by a collector in Japan was that sometimes families would have the swords in their possession cut into sections to avoid the consequences of being found with an unlicensed sword. I was skeptical, until he pulled out small collection of nakago which included several koto nakago and a signed and dated Sadakazu that looked very good to my eyes. Still not sure what the full story is there.

I had the pleasure of borrowing my friend's Kawano Sadashige (Gassan school) over the weekend and wanted to share a few photos. I have encountered his work on and off, but this one was by far the best example that I have seen. For some reason it seems that his swords tended to be larger and longer overall than his contemporaries, I have seen three that were over 28" and this tachi is 70.5cm with a 34mm moto-haba. Definitely a smith I will pay more attention to in the future... Best regards, Ray

Considering that it is a Chinese reproduction, I would not recommend rebuilding as an iaito. You do not know the integrity if the blade, and it is possible that the blade may break in the course of your practice and cause injury to yourself and/or others.

Great sword. I am surprised that Tanobe-sensei did not append the sayagaki with Chin-Cho (or Chin-Ju) given the health and quality of the sword and the fact that it was placed with one of the earliest masters of this school in late Kamakura. The hamon also seems unusually wide for this school. I am also often surprised that this school is not more popular among collectors. Ko-Mihara hamon often have a tight habuchi with smaller/finer hataraki compared with other groups. Perhaps that is part of the reason. By contrast to this example, take a look at the Ko-Mihara which Grant is selling here, which appear to have deep nie hataraki. Workstyle (in hamon) seems closer overall to Tegai.

My understanding is that the current regulations in Japan require that newly made swords are dated. I would speculate that, if Komonjo's swords are being produced in Japan, they are being sold under the table to bypass the current restrictions, with a gimei being added by the smith or added later to blades sold mumei.

Signed ___shu Junin Kunimasa Saku. I am guessing that this is the Tosa smith.

http://www.ebay.com/itm/KIKUCHI-YARI-spear-w-Judgment-paper-MUROMACHI-14-6-8-3-280g-/122414592505?hash=item1c807a71f9%3Ag%3A9nMAAOSwt5hYb0uD For what it's worth, I am in the camp of this being an interesting, worthwhile item for the current price.

That sounds absolutely terrifying. Perhaps a good option is to speak with Paul Martin...

Remarkable kasane.

Success! I walked him through the process Jean mentioned again and the issue is now resolved. Thx all!

https://markussesko.com/2013/02/27/the-musashi-masamune-one-blade-four-oshigata/amp/

I will communicate that as well. Thank you... Best regards Ray

Hi Jean, I tried to walk him through this approach but it was not successful and he is concerned about injury or damage to the sword. Perhaps an in person visit, if one can be arranged, would be best for him at this stage. Kind regards, Ray

Are there any members in Connecticut who could help a friend of mine with an issue with his sword? One of his shirasaya has become stuck, undoubtedly due to changes in humidity (low humidity and the wood has contracted tightly around the habaki). He is a relatively new collector and I was hopeful someone here might help him extract the sword so he can keep it loosely closed until the weather changes or until he can have a sayashi adjust the saya (I have recommended John Tirado). If anyone might be able to help, please send me an email at raymondsinger@gmail.com. Many thanks, Ray

Hi Michael, I would say that Ko-Uda can also meet that description. The work of shodai Uda Kunifusa has a hamon like this, in a generally suguha tone. I will share some reference examples. I would also say that this type of hamon (only the hamon) reminds me somewhat of Yamato Shizu. Similar to the oshigata attached, the hamon has deep nie, but not depth to the ha like you would expect to see in Norishige. Best regards, Ray

That's more due to my very poor, mobile phone photography. The habuchi is very bright (not at all shimiru), but is also distinct and does not have the vague transition zone seen in Norishige's Ko-Hoki style work. Here is shot which shows the bands of chikei flowing through the ji.

Thank you Franco, I agree that some similarities are evidence. There is a calmness of workmanship though, but the influence definitely seems to be there. This was not polished by Moses.

Jim Kurrasch used to say that the best test of how clear the jigane is, and its colour, is to view it alongside a small mirror. The mirror being equivalent to perfectly clear steel, as a mirror contributes basically no colour of its own.

Thanks for the kind words. I will say that it is hard to discern a darkish jigane in this sword, which is first thing one should look for in a hokkoku-mono. The jigane is filled with ji-nie though, and that may be making the color of steel difficult to evaluate. Here is an oshigata from the Zufu which has similarity to this sword and gives an idea of how the hamon appears.

I thought this sword would be of interest and would enjoy hearing others thoughts on it. The sword is one I found in essentially zero polish at the 2014 Tampa show. At the time, the majority of the blade was covered in black rust, except for a clear area under and just above the habaki (maybe 3cm total). From what I could, see there was a feeling of ayasugi, not a very regular one that would point to Gassan, and I made a guess of Ko-Naminohira. I was at the show with a friend and asked him if he wanted the first shot, which he jumped on. After polish, there was a feeling like Norishige in places, not a textbook matsukawa-hada but a workstyle that showed some relationship. My guess at that point was something between Tametsugu and a very high quality Ko-Uda. The sword received a kanteisho at the 2016 Tampa shinsa to Nambokucho jidai - Uda Kunifusa, who is considered to be a student of Norishige and falls into the Etchu middle period along with Tametsugu. That said, the sword has not gone to the NBTHK yet or been in Tanobe-sensei's hands, so I wanted to open up for the groups thoughts. I will take better photos if possible this week, but I think the attached gives a good idea of the work in this sword. Best regards, Ray

BTW, from the kanteisho length is 2 shaku 2 sun = 26.25" = 66.6cm.