Franco D

One possibility ...

What matters going forward is to learn how to recognize what makes a "good sword" a good sword. In that way when you see a bad sword, like the Japanese say, it will hurt your eyes. The Japanese recommend studying the best swords one can possibly find to study. A note: good swords even when out of polish and rusted over offer clues to sharp eyes that something worth investigating further may be hiding. Bad swords don't. Are you planning on being a mei collector or a nihonto collector? To some nihonto collecting is a hobby. To others nihonto collecting is a discipline. Regardless of which path one takes kantei is the key to nihonto appreciation. There are many challenges to overcome. There will be many bumps in the road to navigate. There will be difficult lessons to learn. There will be disappointment. It's never easy! Teachers, mentors, club support, and a library are essential and invaluable.

"The sword confirms the mei and not the other way around." It doesn't matter how many images under any lighting or at any angle are taken of the nakago, it won't change the fact that the business end of this sword offers nothing in the way of kantei that suggests this is a traditionally made sword. Which leaves the bigger problem of the fact that this sword is trying to pass itself off as an old sword. Again, if you really want to find out what you have here, submit it to a shinsa. But don't be surprised if the judge reaches for the pink paper almost immediately. Kantei is the key to collecting nihonto!

If that's the case then submit this sword to shinsa. I see "nothing" in the images posted that suggests that this sword is in fact a nihonto.

If you click on the image provided in the link above and then fully enlarge it, it is easy to see (in the first figure on the left) that this is in fact not a suguha hamon. That, and the written verbal description. Desire is the cause of suffering.

Do we own our swords or do the swords own us? Are we samurai? What is the purpose of practice? What would these swords look like today if their owners had gone around chopping things up for the past many centuries or more?

The problem here is that sooner or later an "art" sword will be ruined by someone who lacks the knowledge and better judgment necessary not to proceed. This is not unlike the issue with amateur polishers. Desire is the cause of suffering.

I see no evidence that this is anything more than a shobu zukuri wakizashi.

Fyi, (to help you get started) https://www.militaria.co.za/nmb/search/?q=boy's day sword&quick=1 https://www.google.com/search?q=Japanese+boy's+day+sword&sca_esv=811d106c3f469370&source=hp&ei=teojZ4SVHcOJptQPjr63oQM&iflsig=AL9hbdgAAAAAZyP4xWmsCmhHAvG7sOfjSfkZuoc0xvot&ved=0ahUKEwjEw_7gvLmJAxXDhIkEHQ7fLTQQ4dUDCBA&uact=5&oq=Japanese+boy's+day+sword&gs_lp=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_gE&sclient=gws-wiz

Jussi, if you were talking about an Edo period sword, then perhaps. Otherwise, it would be well to be reminded that form follows function. What was the "environment" at the time in history of the sword being discussed? During feudal times it was unlikely aesthetics took precedents. Form follows function.

That determination is up to an organization like the NBTHK.

The Japanese write that kantei is the foundation for nihonto appreciation. Sato sensei writes in the NBTHK English Journals that judging quality is the second step in kantei (although, it is all too often a step that is overlooked). If you really wish to learn and get better at kantei make it an objective. And as far as that goes, kantei is and should be the collector's guide to collecting nihonto.

Thoughts, Muromachi period shape. Could be early. Narrow hamachi > narrow hamon. May have had chips removed in previous polish. Hamon looks a bit tired to these eyes in these images, just one opinion. Appears to have a Tensho age nakago jiri. It's difficult to tell from these images just how much longer this sword may have been but considering that it's 25 1/2" now, even if you add 7" it would still fall within the expected range for a Muromachi period blade. Full measurements might help give further clues and answer a few questions concerning this swords history? What is the overall length? Width of kassane including nakago? Widest and narrowest points? Thanks.

What little exposed steel there is that can be seen in these images looks like what Yamanaka describes as "lifeless." If that's indeed the case, it makes the question of polish moot.

It is not clear and difficult to tell exactly what is going on with this sword. Needs to be evaluated in hand. Still leaning towards O-suriage.

Leaning towards O - suriage. When? Not clear. What is the widest measurement/point of the kasane of the nakago? Kasane @ mune machi? Thanks.

Additional images of the nakago would be helpful? Length? Nakago kasane? Full length images of the sword? Measurements? Overall length, nagasa, moto/saki kasane, moto/saki haba?

FYI, https://www.militaria.co.za/nmb/topic/25760-interesting-mino-juyo/#comment-260547

If it had no real importance why would Mr. Tanobe have talked about it at a Florida sword show? If it had no real importance why would there be mention of it in a Marcus Sesko article? In the overall evaluation of a sword, sometimes it's the additional small details that confirm or deny one's conclusions.

Much appreciated, Jussi. Historical importance is not always readily obvious. Plus, a "competition" where judgment takes place will be open to subjectivity. They do remember. A new polish might even be the only reason for a resubmission, and that might be enough for a sword to pass the second time around. Pay to play. Prepare the best you can (which means do your homework, check all of the boxes, presentation matters), go in without expectations. Again, it could be the sword itself that's not good enough. It could be the polish, too. It could be the new competition that presented an obstacle, as well as the competition from previously passed swords that was too stiff. We don't know what the judges are looking for. Perhaps rarity took precedence over quality in one instance. And then, there is subjectivity. It's never easy. Participation is voluntary. Desire is the cause of suffering.

A few things to consider when submitting a sword for Juyo shinsa. Yes, it is a competition (as Darcy said). The sword will be in competition not only with other swords being submitted, it may also be in competition with previous similar swords/examples that have passed. And if the sword being submitted is not better than previous examples that have passed, you may be out of luck even when and if the sword being submitted is an excellent sword. Another thing to be aware of is that a sword's polish matters, and it too is being judged. Old polish or new polish, it must meet their expectations. Also, more than a decade ago I was about to submit a sword for Juyo shinsa when I was tipped off that a stash of Toku Ju swords that had been discovered were being submitted because it was a Toku Ju shinsa year, and it was unlikely that anything else would pass. I wonder how many other swords were submitted that year with absolutely zero chance of passing? Their game, their rules. Entry is voluntary. Which means that when you enter you're agreeing to play by their rules. Best of luck!

Quick thoughts, Tsuba: 1. Has to be bushi, has to have had or have a bushi connection. Evidence that it was once mounted. 2. Maker, good makers make good tsuba. Signed or unsigned is fine. Good tsuba are easier to kantei (same for swords, right?). 3. Material, any but has to have obvious quality. Has to have mass. 4. Art, composition, shape/design, obviously forged. 5. Size matters, 3" + . This is not to disparage smaller work, not at all, just personal preference. a) it isn't necessary to own something to appreciate it (sorry tsuba dealers). more: 6. Upper level work is much easier to research. Desire is the cause of suffering.

I'd prefer your verbal description, otherwise I wouldn't have asked. While the images do show that there's a lot going on, the clarity is basically is poor.

Does this tanto have nie utsuri? Yubashiri? Please describe if so? Nagasa? Thank you.

Customizing to the user's needs/desires/koshirae. https://nihontocraft...hinsa_Standards.html Shinto swords should be ubu, have no flaws, and be signed. Anything other would explain why it only received Hozon level origami, aside from quality.