Franco D

On a number of occasions I listened to RSG members, our friend the late Arnold Frenzel in particular, talk about the fact that during the Edo period swords were not only tested to determine their cutting ability, but also tested to gauge their integrity. Oddly enough, one RSG member who had a wonderful papered signed Shinshinto period sword with a gold cutting test, learned that the sword had a hagire, but only after it was put to stone where it surfaced during the foundation stage of the polish. So, while cutting test swords generally demand a premium, there is another side to be aware of. It's never easy!

When buying or selling a sword don't forget to factor in the condition of and the quality of the polish into the price. The cost for a new polish alone will quickly add to the price of the sword. An excellent polish in itself may increase the value of the sword and make it worth paying a premium price. On the other hand a mediocre polish may have the opposite effect. Speaking of which, a new polish doesn't necessarily translate into being an excellent polish. So much to know, so much to learn.

When it comes to nihonto collecting patience is a must. Sometimes years may pass before the right piece (right market) at the right price presents itself. As we collect it is also important to realize when it is time to let go.

The price of a sword may depend on the knowledge of the buyer or knowledge of the seller. Buyers who are unsure of themselves may end up passing on a great deal. At the same time that unsure buyer may end up overpaying. Or even worse, a buyer with a lack of knowledge and or experience may end up buying a sword that they should have never bought to begin with regardless of price. On the flip side, sellers, including dealers, may know what they have and offer a piece at a fair price. They may also seek too high a price hoping the right customer comes along. There is also the case that the seller/dealer doesn't know or at least didn't realize exactly what they have/had. When it comes to nihonto there is too much to know. For many collectors where pricing is concerned, in the end are happy to land somewhere in the middle (breaking even) or close to it when everything is said and done.

The Craft of the Japanese Sword by Kapp & Yoshihara. ~ $15 https://youtu.be/gxwWf-MfZVk Encyclopedia of Japanese Swords ….. Sesko .... $24.90 – on sale $12.50

What if you could sit down with a polisher, or a nihonto expert, or even a swordsmith to study swords together? How about all three? In essence that is what books to some extent allow you to do. One of the very first steps in sword study is learning and developing one's vocabulary. Otherwise, how do you know where to begin to learn, and what it is that you're studying? Conversely, what do these new words really mean without access to a sword with these features? We often see right here on the NMB the results of what happens in the rush to obtain a Japanese sword before reading books and developing a proper library, never mind an extensive library. And sometimes poor results still occur even after books are purchased and read because the buyer has never really held and studied excellent nihonto in excellent polish in hand. Ignorance of one's own ignorance may be the worse kind of ignorance. Especially when it comes to Japanese swords. For those that really want to challenge themselves as well their reference material they should write up a kantei for the sword or swords being studied, including a discussion of how to reach the correct conclusion along with citing all references. It was doing exactly this for our local study group that raised the bar for learning how to critically study and learn from books with sword in hand.

Do you have a reference or citation for this?

Listed in red below are the titles that I believe are essential for an active nihonto collector's library. For nihonto "students" of all levels, Yamanaka's Newsletters revised (which hopefully the NCJSC will begin reprinting soon) is a must. Why? Because it forces you to learn kantei which is the foundation of and for Japanese sword appreciation. Markus Sesko's publications now on sale:

Edit. Morning eyes changes my mind, yes, all rats ... tails and ears.

https://www.jssus.org/ ... see articles > sword care https://www.militaria.co.za/nmb/search/?q=oiling&quick=1

Please take the time to search this forum for threads on proper sword care. Nicks in the ha are not uncommon as many of these swords fall into hands of those that believe that a chopping motion is equivalent to a cutting motion. When it comes to nihonto, the sword confirms the mei and not the other way around. Outside of book homework and seeking opinions, submitting a sword to shinsa is the way to verify and confirm/certify the signature. There are shinsa held in the U.S. and almost certainly you'll see information and announcements posted on the NMB. The dagger itself is called a ko-gatana. Its handle is called a kozuka. With better images you may get a translation of the other engravings.

FYI, https://www.militaria.co.za/nmb/topic/15057-mizukage-retempered-blade-flaw-or-utsuri/

Are you saying this for this sword or in general or both? Regardless, it would be most unwise not to "look for" saiha on a sword with an unusual amount of sori. While I was not in attendance, myself, this information was shared by fellow RSG members following a Florida sword show in which Mr. Tanobe spoke about saiha. The other somewhat of a surprise that came out of that session was the fact that there are many more saiha swords out there than one might expect.

Like when a shinsa judge looks at a bad blade where they literally reach for the pink sheet after only a quick glance, nihonto students should do the same. If only as much time were spent studying excellent blades as folks spend time on studying bad blades. Yes, look for saiha when you see a sword with unusual deep sori. Regards

It would seem then that somebody knew and understood exactly where and what they were doing when they gathered their own materials once upon a time. Direct feedback and control has its benefits. Thanks for your post, Piers.

In the past it was a simple matter of asking whomever was handling the sword for NBTHK submission plus a fee to request a Mr. Tanobe sayagaki.

In "old times" weren't smiths gathering their own materials? Didn't the Bizen smiths in particular have access to especially high grade iron sand washing down in the river there? Aren't materials and how they were gathered becoming commercialized one big factor and change in the transition from Koto to Shinto? Or did I read that wrong? It just seems to me when viewing the top class swords and steel of old (Bizen, Rai, Soshu, ... ) something has been lost along the way. Or am I completely wrong?

Not necessarily. Too much finger pressure even with "polisher's uchiko will leave hike. Just to be clear when saying "just like in older times" are you talking about materials, process, or both? Thanks.

How much have these swords with larger patches of hada been polished down? That could be one answer when inconsistencies in hada pattern begin to appear. Just to be clear this is not the same as saying the sword is tired. But it may reflect back upon the full ability and skill of the sword smith. Regards

A full length image of this sword might be helpful in narrowing down a time frame of manufacture. That and a close up of the boshi as well. The patina on the nakago favors the possibility of an older sword. Excellent looking mounts. Regards,

Further comment, "The sword confirms the signature and not the other way around," a phrase the late Arnold Frenzel often used at our RSG meetings. Which leaves something to think about here. This mei may indeed be a false signature as Kirill opines. Despite that, we don't know what this sword really is right now other than an unpolished Japanese sword with a Kanesada mei. It could still be a "Kanesada" sword. This could simply be an added signature onto a "Kanesada" sword, which doesn't change the fact that it's a false signature, if so. And we wouldn't know which Kanesada either? The reason I bring this up is that when we analyze swords, we need to take into account everything that is going on especially the business end of the sword. Think about this way. What if you had an important sword with a false mei, an added mei? It wouldn't be the first time after a false mei was removed that a sword was then attributed to the same name, as Jim Kurrash might've pointed out. Food for thought ... p.s. It's never easy.

Fyi, https://www.militaria.co.za/nmb/topic/13261-beautiful-christian-tsuba/

Suggested; first, one approach would be to first go to the books (like Fujishiro, Taikan) to compare to known/rated signatures. At the same time ask for opinions of other collectors. Second, if the mei looks probable/good, have a window opened and the submit the sword to shinsa. Thirdly, then, if all is good you can decide whether or not to have it polished. p.s. that one flaw may be too deep to take out. Which means making more decisions. Regards

As I look at these swords I'm reminded of something that all beginners should be made aware of which is that there are events called shinsa/judgments held periodically in the US. . In these shinsa swords can pass or fail becoming certified/papered. In days past the failure rate often hovers above 50% of swords submitted. Swords can fail for any number of reasons including false signature and or condition. So, what happens to all these failed swords? Unfortunately, many find their way back into circulation.

Hi, that PDF article is already posted on this forum. I'm going to try to find and link it here. See previous post for link to article. Budget? How old? Tachi, katana, wakizashi, tanto? Signed, dated? Tradition? School? Papered? Polished?