Toryu2020

You'll want to remove that fuchi and look carefully for the presence of a stamp. May not be traditionally made... -t

Still looking for oshigata of the "Omichi" smith who worked in Kyoto - and now I am after oshigata of the Heianjo Nagayoshi smith who worked circa Kanbun - plenty of signatures for the Muromachi smith but I am interested in the artist using this signature in the Shinto period. Thanking you in advance, -t

Support your local sword club! -t

The museum has closed the collection was auctioned off for the most part… -t

Jeff - welcome Use the search function you'll find lots of good stuff like this list... -tom

31 42 5 This is the order for reading - take a go thru the kanji pages... -t

Jesse - What books does this young collector have? What are his areas of interest? We may be able to help out... -t

Great tsuba.

Welcome! -t

Nicely done - very easy to navigate. -t

Since you asked - Yes - in a wartime setting, in a factory production line, we do not even know if the same guy signed this as the first, could have been a student, could have been a man employed just to cut signatures. Appreciating mei is a study in itself and is part of what makes the hobby exciting. Have fun! -t

Thank you - a terrific example. -t

Jaime - the actual kanji character itself did not evolve - writing styles were well established by the Edo period with the exception of new fonts developed for the "printing press". However these were not employed on sword signatures so your choices are basically; block style, cursive and grass writing. Yumoto Sensei provides us with good examples in his book. A quick glance and you should be able to see and understand the differences... -t

Indeed - saw the first kanji as yuki mistakenly...

Diagrams of snow-flakes (patterns) tsuba the next line being Mei - Teiei Don't be a tease Grey, let's see that tsuba! -t

The actual kanji did not change all that much over time, at least not in the relatively short 2000 year period that covers the eras of nihonto making. Smiths got better at writing is about all the change you will see. I recommend "The Samura Sword by John M. Yumoto" he has several pages showing common kanji and their variation. There is a wealth of ther information there to. -t PS it doesn't need a polish...

I think everyone on this forum that has the chance to attend should post a picture of themselves holding that Sadamune!! -t

Biggest surprise for me was I bought a pair of tsuba with a bid I figured would get easily surpassed but then premiums and shipping added more than three hundred dollars to the price!! -t (guess I shouldn't have been surprised...)

Both are excellent books. Bugei Marketplace has NIHON NO MEISO on sale right now on Facebook if you're interested... -t

Barrett - Several factors at play here; 1. height - hold the sword naturally in your right hand - let the tip down to the floor - a longer sword will touch the floor a shorter one will clear it - about an inch from the floor is pretty standard length. 2. Monkey factor - hold the sword naturally in your right hand - with the sword horizontal - place the tip at the center of your chest - a blade that is short of the center on right on it is pretty standard length - if the tip is well past the center it is a longer sword and you may have trouble with noto. 3. Ryuha - what school do you practice? does the art favor longer swords or shorter ones? Does your teacher have any input on your decision? What does he/she have to say? 4. Personal taste - it takes about two years of regular practice to develop the feeling of taste in swords - do you like a deeper curve - okissaki - longer blades or shorter ones - heavier blades or lighter ones - this cannot be taught - it is something each individual has to develop. Keep in mind 167 cm would make you the tallest man in most rooms in Japan 100 years ago - so a standard length of 2.3.5 would probably suit you just fine - afterall it worked for generations of swordsmen before you... -t

Annual gift-giving for the Shogun... -t

I do not believe the Hon'Ami "cooked up" swords, certainly there were generous attributions given for generous patrons but they didn't need to fake things to make a living. If you believe everything is cooked then there is nothing to believe in, time to move on to another hobby. Generally they do not put gimei on poor swords - there is most often an attempt made to match workmanship to the spurious attribution/false signature. Of course there are some really clumsy examples out there. Yes there were blades probably cut down to try and get a better attribution but this is not why there are so many osuriage mumei blades. Not all merchants were criminals. As stated there were annual ceremonies where swords were given as gifts, the list of appropriate makers was pre-set, the ceremony prerequisite so of course the name on the label (saya) was more important than the actual work inside. Tatemae and hone. It was an accepted reality that all participated in. They still do - if you've ever participated in a Japanese wedding and seen the number of envelopes passed around you would understand. If you've lived among the Japanese you would see the sheer honesty and pure integrity of the average Japanese, living someplace uncivilized like America it is easy to think that "everyone is out to screw me", there is no place like Japan to restore one's faith in humanity... -tch

羽　　前　　関

Indeed Terumasa -t

Reviews of each generation help us see who were the more reliable appraisers, but every generation was subject to "political influence"... -t