reinhard

For those interested: The mei reads "Moritsugu" for sure. You find the sword in an ongoeing auction at www.rockislandauction.com in Texas. Problem is: The sugata on the pics looks like very old (Ko-) Aoe work. This could explain the mei on the sashi-ura, for some of the Aoe-smiths signed their tachi contrary to common practice. But: The nakago looks quite "fresh", unaltered and with one mekugi-ana. The kengyo-butt could point to Chikuzen-Kongobyoe school as Ray Singer already pointed out. Maybe a Southerner finds the time to check it out in hand. reinhard

"The Craft of the Japanese Sword" is an excellent book helping to understand the technical aspects of forging a proper Nihon-To. It helps understanding the difference between a mere tool and an object of beauty within objective parameters not easy to comprehend for an outsider. A most common misunderstanding still; especially here on this board, where the fruitless discussions about art and the qualities of Nihon-To never end. reinhard

Some more information about Yukikage: There were two smiths working under the same name in Bizen during first half of the 15th century. The mei on your blade fits only the one working in Osafune during Oei to Eikyo-years. He was the son of Inshu Yukikage and later associated with Yasumitsu in Osafune. His workmanship was similar to that of Omiya Morokage. reinhard

Forgot to tell you find the translation of the above in English Token Bijutsu No.5 page 9. reinhard

Just some additional information: The mei of the Kunimitsu-blade with the nengo "Kagen 4" (1306) has been seen critical for a long time now. Dr.Homma Junji noted in 1984 ("Kanto Hibi-Sho") his doubts about the mei. reinhard

Since there is a tanto by Shintogo Kunimitsu (Juyo Bunkazai in the Atsuta Jingu) with a Toku-Ji san-nen nengo as well, it should be compared first to the blade in question. Much has been said about the kanji for "Kunimitsu". I see inconsistencies to Kunimtsu's traits in both kanji; too many for me to explain it with student's work. The first, horizontal part of the 2nd stroke of the kanji "Kuni" is "hanging" down. As mentioned before, the 4th stroke should be close to vertical and be in line with the first stroke of "Mitsu" The hokkan-style of the upper part of "Mitsu" is missing. Student's work...maybe, but I'm sceptical- What really bothers me is the writing of the nengo. It looks completely different in style and proportions compared to the Bunkazai. reinhard

The tsuka is wrapped the wrong way. The crossings of the Ito must alternate right over left, left over right...and so on, which is not the case here. The mei looks to me as if it had been scratched(?) over an artificially blackened tang. Agree with cast tsuba of non-Japanese origin and very bad filemarks on nakago. All in all a spurious assembly of parts. Sorry Olga reinhard

Usually the difference between mune-kasane and shinogi-kasane is neglectable in blades made of the shinogi-tsukuri type. Some blades however show a difference so remarkable the widths should be mentioned separately. Some scholars do, others don't. reinhard

Do not forget: It's the polishing technique that makes utsuri visible, or not. For a long time people believed, utsuri was an old, lost quality, forgotten during Edo-times. They were proven wrong by increased polishing techniques. What makes the difference now: Kind and quality of the utsuri! reinhard

There was a time, not so long ago, when many collectors and dealers switched from washi to micro-fibre tissues for sword care. The disadvantage was: This kind of synthetic tissue picks up loose particles of rust from the tang and rubs them over the blade, producing ugly scratches. just an idea reinhard

The estimated price is way too high. Reminds me of past days in the 80ties and 90ties, but this golden age for dealers is over. Shinto-To should have its mei at least partially. O-suriage is a no-go. reinhard

Keep on dreaming on the tip of the iceberg. reinhard

This conversation is drifting into the arena of the absurd. In order to verify a fake google/gmail-acount I should "google" it? Are you serious? reinhard

"Crap material"? You better start on field one. Obviously you haven't understood basics. reinhard

A gmail account doesn't proove anything. reinhard

Mustafa wrote: "This idea is copyrighted worldwide and others can not patent the ideas here." Well, Mustafa, I don't intend to steal your ideas. I think nobody does. What you don't understand is: Producing replicas on the basis of new technologies is of no interest here. Your rude and highly aggressive attitude has a suicidal touch, as far as this board is concerned. Reminds me of a character kicked of this board not so long ago. But maybe that is what you want. Anyway, I am a chess-player and it seems you don't understand basics. reinhard

Thing is: We can tell, what the real hamon is. To me it looks cosmetically added in the monouchi-area. a) is correct when the heated blade is plunged into water horizontally; the proper way. It is a dfferent thing when the partially heated blade is plunged into water vertically with the tip downwards. b) is definitely correct, but again: We haven't seen the real hamon yet, just vague pixels. reinhard

Ray Singer wrote: "Lewis, my impression is that the corrosion is more recent. The pitted and pockmarked appearance of the nakago has, to my eyes, more of the look of something where the age was chemically accelerated. It does not look like a naturally aged koto nakago." Exactly what I thought when seeing the pics of the nakago. reinhard

There is something wrong with the sori (curvature) of the blade. The monouchi-area seems to bow down. This indicates a retempering of the upper part of the blade. Close expertise (in hand) could solve this question. reinhard

Who cares? I don't. reinhard

Playing the "sexist card" is about what I expected. Just don't bother us with childish and silly emojis any more. reinhard

Gimei is gimei and that's that. "nihonto-museum" is no valuable reference at all. And yes: Guido is a real character, always was. Sadly enough he is not able to participate anymore. As for you , "Dee", I have my doubts who you really are. Playing the "Lady-bonus" here for somebody else ? reinhard

Comparing paintings with blades 1:1 doesn't make much sense, but so-called "AI" is stupid and will do whatever you ask, unless you ask for sensitive and censored information. Nevertheless the question (prompt) marks an in important point: Good Nihon-To is more than a tool. It is the ultimate approach to combine functionality with beauty. reinhard

The thread starts with the following statement: "I did not realize saiha (retempered) blades could paper (unless very famous smith or significant blade)..." The examples of Toshiros and Shintogos proudly presented afterwards fall in the category of "famous smith or significant blade". For the average collector of Nihon-To the device must be still: Saiha is a no go. Collectors of sharp militaria tools can ignore this advice, of course. reinhard

Quoting from the site mentioned above: "Uchida sensei then requested to test the blade with a telephone book of 1 sun 5 bu thick. Artillery captain Omura performed the test with excellent results." Seriously? reinhard