Franco D

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.

A few quick thoughts. We need to keep in mind that form follows function. As time passed, fighting styles changed and with it the shape of swords either through manufacture or modification. Following this point, we need to be aware that throughout time the shape of earlier swords were being copied, but that sometimes what was being copied were modified swords. This holds especially true when entering into the Edo period. It is one reason we see familiarities in Shinto swords like that of shortened nambokucho or other earlier period swords. For example, look how often we see what is thought to be a naginata naoshi only to find upon closer examination, "nope, it's simply a Shinto period shobu zukuri wakizashi." The study of the origin of shape is essential for a complete understanding of nihonto.

I'm skeptical that this an "old" sword and second the thought that this may be a Shinshinto sword.

From old computer files, not referenced.

I've seen 3 and 5 punch with my own eyes. Watching Ford in the video you can see the displaced metal forming a ripple all the way around the nanako. When a multiple punch is used the ripple forms an uninterrupted continuous wave down the line of nanako. That may be a clumsy description on my part for now. I'll try to see if I can come with a better way to describe it.

When evaluating nanako it needs to be determined whether the nanako was made using a single punch tool or whether they were made using a multiple punch tool. That can be determined by looking at the displaced metal surrounding the nanako. There are a number of factors involved in the making of nanako including the precision of the tool and the precision of the strike.

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?