Toryu2020

I think it reads; Yasumitsu Ha-cho 2 shaku Issun Ichibu san rin kore ari Yasukuni Jinja nai Nihonto Tanren Kai Shunin Toko nari All is as Pete translated but the "something" at the end which I think means "Chief swordsmith of the Nihonto Tanren Kai (which was located within) the precincts of the Yasukuni Jinja The name below the date on the ura is; Soshu-sai ki (Soshu-sai recorded [this]) this is the Go of the calligrapher, don't know if he was a To-ken personality... and I think the Tsuki-hi should be romanized as Kichi-jitsu not kichi nichi not really sure on the Shonin kanji as they are hard to see in the photo... -tom

Lovely site - especially like the Kiyonobu koshirae - an interesting theme freshly presented Mr Hallem is a real talent, and you deserve some credit for inspiring him. Thanks for sharing this, -tom

Lionel et al - I have to agree with you, a faker of the same era as Masahide would have examples of his signature to copy and would most likely do his best to copy a real Masahide. Also adding a date is a very bold act by a faker as it clearly sets the age the blade is supposed to have been made. Comparing your signature to Masahide's signatures from the Bunka era this does not even come close. So if this indeed says Suishinshi Masahide it is a lousy fake. I would posit another theory, your theory in fact. Could this not be another smith? Perhaps a student of Masahide? Since the Go, Suishinshi does not match may be we are looking at the wrong smith. What about Masafusa? He worked at the same time, studied under Masahide. The Meikan gives no Go for him and I don't have other references for him handy but his family name was Shimizu (志水) this could easily be a play on his own name and his teachers name. The only dated works BTW are from Bunka 2. Might be interesting to look him up. The blade is the thing, and it don't look good, could be the photos, it clearly needs some love not sure a little known student of Masahide in poor polish and untested condition is worth 4000 Euros... -tom

Ray et al - I would think if metal worked better in battle we would see lots of Muromachi era koshirae with metal mekugi. To my thinking metal bends, and sets. Bamboo flexs. If you struck a heavy object with a copper (or brass) mekugi it would bend maybe not break but then you have slight movement in the tsuka and slowly but surely with further use it becomes worse or even breaks. I'd say bamboo is best, -tom

Jim - Looking much better here, I would say yes it is handmade. Still cannot see the jigane in the photos but you have a nice hamon, a well finished nakago with a single plugged hole ( a sign of age), may just need a polish or a better photographer :-) -t

Thats pretty clear from the nakago, one limitation of the Meikan there are few Showa smiths, obviously there was a revival of the earlier name as so often happened, I would have said a foreigner or a forger cut this mei if Moriyama san had not posted the link to another mei by this guy, very rough stuff... -tom

Eric - For starters you have NIE visible which is a huge push toward true Nihonto, don't see which sword we are talking about, I can vaguely see what looks like sanbonsugi on the katana but don't see it in the close up photos. Also don't see the nakago well enough. Should I be following this in the translation thread? -tom

I for one am curious to see the nakago, The Meikan lists only one Gassan Munemitsu and he worked in the Tenbun era, Doesn't mean some great grandson did not take the name in Showa. Don't see anything wrong with your hamon, a fuchi does not always mean Mino and if I am not mistaken masame is the baseline hada that produces ayasugi so strong masame in the shinogi-ji would not necessarily be outside the possibilities. What does the connoiseuers (sp?) book have to say about Sue-koto Gassan? I believe there is a small section on "other" schools... -tom

Your photos don't really say one or the other if this is hand made, may be hard to determine except in the hand, I'll agree with Barry the nakago is finished well but the mei is clumsy, I would look into the Aizu Shigefusa group, they worked into Showa signed Aizu ju, and though I didn't find this smith the Toko Zenshu says "He had 5 students..." FWIW -tom

Shodai Hizen Ju Harima (no) Kami Fujiwara Tadakuni Ha-chô Ni shaku I sun Kyu bun han Jidai - Kanei koro Maybe the photos but it does not appear to be by the most practiced hand. Is there anything on the reverse? -tom

Eric - Don't take offense, these questions come up every now and again and we have to put that message out there as a kind of public service. Since you've a clear eye on the situation, I can say you've got a better chance at finding a short list of names for the third mon than the others. The otonomiya site that you linked says that katabami mon and its variations was most popular in the Northern parts of Japan. I see that it was also popular in Okayama. If you do a search in Japanese for 五瓜に片喰 You'll find lots of little avenues to wander down, possibly with info on families that used it. For the first Mon the names you mention or perhaps any of the Matsudaira families are certainly worthy... -tom

Eric - I feel that trying to tie a single mon from a single item to a single family with no other evidence is a fruitless exercise unless the mon is really unique. So many families adopted the mon of their lord and then adapted it in later generations it is almost impossible to trace one of these badges to a particular group. The Go-ka (or is it Isutsu-ka?) ni katabami is rather unique - no actual example in my little references - there may in fact be a shorter list of families who used this than most. Still proving which one could be tough. Moriyama-san - thanks for the image very clear to me now. FWIW the Ken-Katabami is also known as the "Ronins' Mon" so many persons adopted it, for example Hayashizaki Jinsuke Shigenobu, the founder of Muso Jikiden Eishin Ryu, he was for a time a ronin on a quest for revenge so this is fitting. Keep in mind also after the Meiji Restoration anybody, anybody who wanted one could adopt a ka-mon short of the kiku anything was up for grabs... -tom

Definitely a Hoju or flaming jewel (http://tinyurl.com/y8m8xvq) Looks like a hot stamp to me and not a kao - does anybody have Fuller & Gregory at hand, I willing to bet we may find it there... -tom

Eric - The first is Go-San Kirimon, a very common mon used early on by the Toyotomi and then adopted by many of the Matsudaira and Tokugawa families and their relatives, and their housemen. Post-1600 there was the Go-Shichi kirimon which featured a stalk of seven cebtral flowers and five on either side, yours is the earlier version with five (GO) and Three (SAN), possibly suggesting an earlier family. the space between the leaves may be a function of the material it is made from rather than a distinct version of this mon. The second is Maru-ni-Tsuru and while there were historical mon featuring a crane in a circle I believe this example if more of a design motif as seen in tsuba and other places. The third is a nice example and you are correct in thinking the version on the left matches your fuchi. It is read Go-Ka ni Katabami. Ka (瓜) or Uri is a melon leaf and 5 form the circle while the central flower is Katabami or wood sorrel. Mon are a world unto themselves and the better dictionaries are huge, I use the references you mention plus two little Japanese books - not much available in English but as you point out lots of good info online... -tom

[snip] From another list; Dear All- I am writing to you to tell you about a unique event. Esaka Seigen Sensei (Hanshi Ju-dan ) from Matsudo, Japan, will be visiting the San Francisco bay area from 24 Aug 2009 to 1 Sep 2009. In conjunction with the San Francisco Asian Art Museum(http://www.asianart.org), he will lecture on and demonstrate Iaido, the traditional Japanese martial art of drawing and cutting with the sword. He will also be teaching Iaido classes as part of his visit. Participants of any experience level and from any style will be welcome at the seminar, though space may be limited. If you or any of your students are interested please let us know right away (outreach@iaido.org). Details of cost, location and registration to follow. Thank you. Sensei Andrej Hendryk Diamantstein (Renshi 6th Dan Z.N.I.R.) Frankly this is a really exciting event, it will run in conjunction with the museum exhibit, "Lords of the Samurai", (http://www.asianart.org/Samurai.htm), a great excuse to come to San Francisco, study swords and study swordsmanship with one of the preeminent teachers now active in Japan. This looks to be a terrific exhibition and Esaka Sensei's instruction is always worthwhile. I am sorry that it is not closer to the San Francisco Taikai (http://www.ncjsc.org) but you will still have a chance to visit the museum. Whether you come for the swords or the swordsmanship I do hope we can see you all there. You friend in the way, -t

Milt - Do you mean like the painting which you have posted with your query? I doubt that, they have calligraphers who do put seals and such in your travelogue if you are a pilgrim, most likely the calligraphy was painted first and then the yoroi added by another artist, can't say for sure I wasn't there. Thinking of getting something like this done? Take the kid out of school donate ALL of his tuition to the shrine and you might be able to arrange it... -t

I don't have very far to travel but expect to be there all weekend myself. You can find me at Alan Harvie's table across from the Krausewerks and Nihonto.com tables. Stop by if you're looking for any books and don't be surprised if you find me crawling the aisles looking at anything and everything. -t (Thomas C Helm http://www.ncjsc.org) PS The 40th anniversary of the Summer of Love will be held in Golden Gate Park on September 2nd, lots of girls with flowers in their head (um hair...)

Rich - The was an article in KENDO NIPPON monthly a few years back about a Kendo/Iaido teacher in Australia, who did his testing on wallabee. That is until his daughter caught the act and complained that they were too cute to be treated so cruelly. He went to look for a suitable alternative and found shark to be not only useful but a better target. Harder to cut but no bones to threaten a good blade. After some practice he found a good hand could manage two or two and half shark. What you need is a good meikiri-shi and a source for shark. Then you could offer sword testing tours of OZ, complete with a chance for the would be swordsman to have his efforts recorded on his own blade... -tom

Syd - Based on the photo you should consider it ubu, virgin, unaltered. Then with two mekugi-ana we need to consider that it is old enough to have been remounted at least once. So given the shape Shinto, Shinshinto or Gendaito. Taka no Ha yasuri most likely mean Seki but not always so look for all the folks who used this yasuri mei. The yasuri are "finished" not quite kessho but with that look which would suggest shinshinto or Gendaito. In general koto has activity in the grain Shinto in the hamon, as time progresses there is less and less activity overall. The grain appears subdued except in that one photo and the hamon as well which also suggests later production to my eye. The boshi is rather distinct on one side and that may be our biggest clue to school or smith. All this from photos is really guessing because the sword in hand is worth a thousand photos but I think you should be looking at Seki work somewhere in the last 200 years but your own study is likely to reveal more than we can provide online. I eny you the adventure... -t

Syd - Thanks for the photos. It is pretty clear that your piece is ubu. While the hamon does run into the nakago, it clearly begins just below the hamachi and the yasuri mei are "finished" just below that. The torokusho says pretty much what I expected not sure any of us can offer more than we have based on the pics. All in all though a fine gift and you should count yourself lucky, -tom

Max et al - With the distinct turnback I am not sure I would call this naoshi, certainly suriage but looks to have been made this way and you may be looking at another late koto piece like the other blade... -tom

Max et al - I like the call to Kyushu on this piece. The looseness of the grain, the indistinct hamon, the unusual shape all remind one of Higo Dotanuki. The nakago has been reshaped to the point it is hard to say what school though if it were mainline Soshu one would hope that it would have been treated better... -tom

Jean et al - Thank you, I am glad to be here and always glad to talk swords. Kantei from photos is always a dicey thing, even with a sword in hand I am wrong 9 times out of 10. Based on what I see in the pictures, there is no color change in the nakago nor any difference in the look of the yasuri mei to indicate machi-okuri. The mekugi-ana appear new, they appear drilled and the placement is odd for an older piece. There appears to be a distinct lack of nie in the close ups of the boshi and the hamon at least that is how it looks to my eye. The jigane looks to be mujihada except in that one picture, but they are just pictures. The torokusho may give us the answer, it might also just say "katana, Mumei", in either case I am curious to know more about the piece and I am grateful for the opportunity... -tom

Got it... -tom

Greetings all - First post here in the new incarnation but I am sure many of you all know me. I would be interested in photos of the shinogi-ji and the hamachi. Does the hamon start there or run into the nakago? Based on the photos I would take a different bent and call this Shinshinto or Gendai Seki work. Might also be of interest to see what the torokusho has to say... -t