Toryu2020

Excellent! When I started out and told my teachers that I was interested in Shinshin-to they all laughed, "You have to study Koto!" so you're in good company. It is a huge area indeed but that is what makes it all so enjoyable. Roughly there are four paths; Art Appreciation - study of the swords as art and kantei is the tried and true method for gaining knowledge in this area. Craftwork - construction, molding, forging, polishing, all the things that attract the "Hammer Monkeys". Fittings - mountings and all the bits and bobs that adorn the sword. History - the context, politics, fads, art and societies that influenced the sword. (I fall mostly into this last category) However you will see overlap in all these areas and long time students will understand you have to have knowledge, at least a little bit, in each of these areas for true appreciation. Ms. Halchaks book contains much the same information as what you already have but presented in interesting ways that may help cement some in your minds eye that others do not. Lonnie Kapps book is a must for everyone - no other book presents the processes of construction, forging and polishing in an understandable format like The Craft of the Japanese Sword. Of course if you want to delve deeper into this area his newer books provide lots of great information. On kantei in a swordless world - for more than ten years I studied the paper kantei (Shijo kantei) and monthly kantei notes in the NBTHK and NTHK magazines - when I couldn't read Japanese and I had no ready access to live blades. Once I got to Japan I had to learn a whole new set of kantei rules when looking at the real thing but that early study helped immensely. I recommend you join the NTHK and NBTHK and any other organization offering regular "paper kantei" these challenges help you to see swords the way the Japanese do and cement the terms and their importance in your minds eye. Do this and when the Society does start meeting again you'll be ready! -tch

Paz - not enough just to "buy" the books, you gotta read them! Memorize, cross-check, contrast and compare. This is an excellent start. Where you go next largely depends on your tastes, desires, unanswered questions that develop from your reading these introductory books. If you already have a particular area of interest we are happy to point you to references that will further your study. One precaution that I heard early on; "If you can't read it, you don't need it!" You can easily go bankrupt and get buried under all the great Japanese sword books out there but if you can't understand what they are telling you they will be of little help. Take your time, study. One way to solve this problem of course is to learn to read! -tch

What if we think its legit? Just kidding! Tell him to run away!!

FWIW I vote for Tomomori as the personage alluded to when we see the anchor - one version of the story is that the young Antoku was frightened by the prospect of jumping into the sea - Tomomori knowing they had lost called to him "look my lord it is quite easy", tied the anchor to himself and stepped off his boat and sank into the waves, thus he is seen as a symbol of ultimate loyalty. The print showing the character "Suruga Jiro" is Kabuki and the anchor on the shoulder is meant to make him more powerful and heroic. I like your tsuba in the original post, at first I would not have said he was "wielding" it but if you look close there does appear to be someone cowering in the other boat (at 7 o'clock) Here is my poor contribution - Tochibata school...

Welcome Z - I wonder if that person was Ralph Bell? Regardless enjoy your journey! -t

This author suggests that Shikibu and Genzaemon would be classified as "Oei Nobukuni" -t THE NOBUKUNI KEI 信国派 | NIHONTO

Many many families adopted traditional mon after the Meiji restoration. Many many families had several sons and daughters each who earned the right to wear the family crest. They would have started branch families and perhaps changed names several times. Many many cousins, housemen, servants and advisors were given permission to use the mon by their lord. For this reason a single mon on a koshirae, fitting, item of clothing or armour is most often insignificant. The great houses had primary and secondary mon, three, four or sometimes more. The individual style and combination of these mon can sometimes help to assign something to a single family or a single generation. Without that second mon or some other information it is foolish to try and assign a single item to any one individual from a single example... -t

Anyone still considering on going, the room block is set to close TOMORROW! There are still discounted rooms available for Thurs, Fri, and Sat but you need to get your reservations in now. If you are being told the block is full - let me know as we may be able to help... -tch

Bill - sent you a PM

Juan - The NTHK would not fail a sword based on a poor horimono (ato-bori, dremel work, bubba cut) - however this can be an indication of issues with the sword so the overall condition needs to be considered. If that is the only "flaw" then the sword has a good chance. If anyone is coming to the San Francisco Show and considering a shinsa submission, you can come see me personally and we are happy to check the condition of your blade ahead of time - if it is in the proper state for an examination we will tell you and if it obviously is not we will tell you and this will cost you nothing. -tch

Eric - There are references out there with the information you seek. Also keep in mind they don't often put gimei on a bad sword - an unsigned work that is average or better garners more money with the big names - even in the days before widespread publishing people knew a crap sword when they saw one. There is a fine line for when restoration makes sense, in terms of art and finance. A tough spot to be in and I suspect many of us have that "one sword" that we ponder over... -t

Axel - you could ask to see his Super Bowl ring... -t

An interesting question - are you looking at all Yasutsugu or just one particular generation? -t

Fukunaga Suiken Sensei has a two-volume book detailing the collections of the Imperial Household and the major daimyo families - many of the most famous swords that we are all familiar with are listed there. As noted most are older blades by well-known artists, very few "royal" commissions... -tch

There is a "full version" out there and you can see the furnace...

The scene of destruction...

1. Look at the strength and cleanliness of the yasuri in the first example. 2. There is strength and confidence in the signature of the first. 3. Compare the "Ro" kanji in all three. 4. Compare the "Tsuki" hen in Fuji and Katsu. 5. I would also look at the dates - how is the "Tsuki" cut for the date. 6. His "Nao" tends to be squarish and only the very early signatures include the last vertical stroke as in number three... To my eye the first example looks the best and if I were putting money on it I would say that one is genuine. I was taught if you can find four (4) anomalies then it is highly suspect... -t

More randomness...

Sorry all I have are the pics Bruce - not my sword...

Apologies if these were posted earlier...

It is easy to see why you like it - I probably would have jumped on this too - I wonder if it is corrosion or something else with the condition of the Nakago that makes the Tagane look so different - I simply couldn't find any good matches in my books (incl Shishin-to Shu) I look forward to hearing any news from Japan... Thank you for sharing it. -t

In his "Tsuba no Kantei to Kansho" Tsuneishi gives genealogies for the three schools and lists some fifty smiths working in this area with their dates, relative values and in some cases work styles. Japanese text only no illustrations... -t

Always the workmanship will tell and if the polisher saw anything off I expect he would have said something before doing any work. Make sure Robert asks about the Kao-thingy! -t

Kirill - I am sorry you have had such a bad experience. While we can't recreate the high level kantei-kai seen in Japan (we don't have the swords) we do get together and share swords informally examining and learning together, it does happen and I am sorry you feel excluded. -tch PS I wish you would message me privately about any individual who acts in this way, I would not want any of my friends treating others in this way...

Both oshigata are of first generation Naokatsu. -t