Franco D

You're welcome. Actually it's both together. For example, I think that all the descriptions and discussion about quality in Yamaka's Newsletters Revised make these books invaluable and well worth the price of admission especially once you pick up a sword and say, "Oh, so that's what he's talking about."

The Japanese tell us to study the best examples possible for good reason. One reason is that the student of nihonto will not begin to realize what is possible until they are able to see it ( nie, nioi, ashi, utsuri, yubashiri, chikei, ji-nie, sunagashi, hakikake, mokume, itame, masame, etc, etc, etc ... ), and more importantly understand the quality of what it is that they're seeing, as well as realize what they're not seeing. This requires studying numerous examples of nihonto, many, many, including those by the same sword smith side by side (if possible), along with those of smiths from all different levels. Another critical factor that cannot be overstated when trying to determine the quality of a sword is understanding (recognizing) the quality of the polish. A polish is NOT just a polish.

Sometime in the early 1990's I went to a local antiques show at a nearby college. An antiques dealer there was selling a number of these converted tosogu items. He told me that they came from a NYC jewelry outfit that was actively buying up these orphan fittings and converting them to jewelry. To date I have not seen any pieces of great significance altered. But, much like the problem with amateur nihonto polishers, sooner or later a significant piece will be ruined. One of the best Jochiku Murakami pieces I'm aware of is an orphan fuchi. Now just imagine if by some odd ball chance one day you came across the matching kashira hanging on a necklace or bracelet or placed on a ring. That's why not.

Darrel ... At risk of quoting myself; Yes, agree. Looks that way. These additional images are very helpful and make a significant difference, thanks for posting them.

Hello Krystian, I neither have the skill or knowledge to say how unfortunately. The only thing I can and will say is that some looks too clean, shiny if you will, while other parts don't look 'restored' quite enough. This contrast brings immediate unwanted attention from a discerning eye. I do believe Ford Hallam has posted images and videos of his work, even on this forum. Perhaps someone will be good enough to post links. Thank you.

The key to a "good" restoration is that the final result does not look or show that the item, or any part of the item, has had restoration work done. As I look at these pieces, based upon these images, I would have to say that is not the case. In fact it may take as much time, if not more, and even a greater amount of effort to return a "natural look" to a cleaned up piece. Granted, it is something very difficult to do, not to detract from the effort here.

Bob is a kind-big-hearted person who is very dedicated to nihonto with a tremendous amount of knowledge and experience. He has helped me many times over the years as well.

A word of caution, these can be genuine, valid, and just as well false, invalid. The sword confirms the mei, and not the other way around.

There are only two polishers in North America to my knowledge that have served full apprenticeships in Japan, Shigekazu 'Jimmy' Hayashi of San Francisco, and Takeo Seki in BC Canada. Both of whom I highly recommend from personal experience.

Sorry, no apologies for raining on anyone's parade here, but just as exciting as receiving a freshly polished sword may be, and it is, the truth is that unless the sword has been polished by an excellent polisher the end results may be in both the long and short term not quite up to par ending in disappointment. And what could be worse is that the recipient may not have the background to properly assess the result or know the difference. After all, ignorance is bliss. In the end the sword owner may find out by receiving a disappointing and poor shinsa result leaving them wondering how that was possible without ever understanding why. Oh, yes, a shiny "new" sword, but what if some of the most critical factors like foundation and finish were not executed quite up to snuff or even incorrectly (for the sword)? Since, according to the Japanese, kantei is the very foundation for nihonto appreciation, wouldn't that make the choice of selecting the right polisher for the sword most critical? Which brings up the question of how do we really know? By simply asking? By looking at actual examples of the polisher's work (traveling to sword shows or participating in club events where you have the opportunity to see polished swords)? Choose wisely, do your homework. Just food for thought.

https://www.nihonto.com/bungo-takada/

Shape is early, however, keep in mind that there was a period of time during the muromachi period that produced worthy copies of earlier swords, sometimes complete with a mei. A blueish tinge to the metal is one give away. Real or memorex?

Although reading kanji is not by any means my forte this looks to read Kane Mitsu. Corrections welcomed and will surely come along shortly. Which Kanemitsu made this sword needs to be determined. Images of the entire sword would be most helpful in making that determination and appreciated. Signatures (Mei) can be shoshin (genuine) or gimei (false). In general what is called a Shinsa can certify its validity and pinpoint the maker. The patina on the nakago (tang) hints that this sword is of some age and appears to be well cared for to this point in time, don't mess with it - carefully research proper Japanese sword care articles, there are many posted on this website.

Hmm ... , 平安時代 [前期] Early Heian (弘仁 Kōnin) period 794 ~ 897 , 平安時代 [後期] Late Heian (藤原 Fujiwara) period 898 ~ 1185 .

In short, yes. In kantei a sword is judged by the workmanship, the workmanship confirms the "mei (nakago)" and not the other way around. But, as we can see from O suriage papered swords there is a wide range of possibilities from almost definitely, yes, this person made this sword, all the way to a general school/tradition attribution. The better the sword the more likely the answer will be more specific. see previous answer. Then there will always remain questions about what exactly was the original nakago. One adage from a collecting point of view says "half the value of a sword is in the nakago." The sword would (almost undoubtedly) get bounced at shinsa. A trained professional could refinish the nakago, but that's a whole other conversation in itself.

The Japanese write that kantei is the foundation for nihonto appreciation. What is kantei? What does Sato sensei say is the 2nd step (that is too often skipped or sometimes completed overlooked) in kantei? Why is this sword Hozon? Why is this sword only Hozon? Swordsmith ratings? What is the history of nihonto? Books; Sato's, Yamanka's Newletter's revised, Markus Sesko's, The Craft of the Japanese Sword , ... , ... Some places to begin the journey ... enjoy!

Lotus flower