reinhard

I understand this MASATOMI was 6th generation of Choshu Okada-line, working around Bunka era. The Toshun artist, who is mentioned here, was probably a contemporary. reinhard

Hi Marc, The top two kanji on the right might be translated: HOGEN (high-ranking Buddhist priest). I don't have a clue about the next one though. BTW I think they are "regular" kanji, not Sosho-style. reinhard

Not all of them, but you make me wonder, once more, what I am doing here. reinhard

Seems you've got this one already (=written by Nagayama Kokan) reinhard

Hi Larry, I guess you're right. The coarse inclusions are due to the unique workmanship of Bushu Shitahara smiths and not to steel quality. Creating pure ayasugi-hada, as the Dewa-Gassan smiths did, demands special processing and does not depend on steel quality. This can by seen on later copies by Osaka-Gassan smiths, made of a different kind of steel. The example posted, is not supposed to show a "prototype reference" type. Bushu Shitahara blades come along in different variations. Some of them with ayasugi-like structures and others with coarse inclusions of a different shape. - Having neglected this school until now, I've got to work on this one. Thanks. reinhard

The mei reads: (right) Soheishi (left) Nyudo SOTEN sei reinhard

Believe it or not: It is VERY difficult to make. Even the most simple wrappings, made by amateurs, always turn out horrible. BTW, this is not only about "evenly pulling strings". It starts with choosing suitable same and arranging it properly in proportion to handle-size, diamond-shapes and menuki. A lot of preparatory work is necessary. reinhard

Short-cut: The mei definitely reads: Rai KUNITSUGU and is gimei beyond doubt. Kanji-style is completely wrong and Rai KUNITSUGU always signed his (few surviving) tachi with smaller characters close to the mune. Therefore Rai-school is no option here. All that's left is a gimei-sword in poor condition. reinhard

Hi Larry, Returning to your question at the beginning of this thread: The coarse structures you can see in your blade's ji-hada are typical for Bushu-Shitahara school. Although Nagayama Kokan classifies it among the ones related to Soshu-Den, its style is quite unique, incorporating mokume with "whirlpool-structures" resembling ayasugi-like hada. Probably it is this particular feature you can see on your blade. Added a close-up of a TERUSHIGE blade illustrating this very phenomenon. reinhard

Well, I've got what I deserved, guessing wildly with not enough substantial informations. Since there's a confusion about the meaning of "waki", I'll try to bring some light in there. "Waki", meaning "beyond a mainline", can only be applied, when there IS a mainline school. As in HizenTo. There was a mainline-tradition (TADAYOSHI/TADAHIRO) and surrounding schools, called "Waki-Hizen". It is the same with Goto-school of Tosogu-makers. There was shirobei-mainline, represented by the heads of the family. Artists, trained in Goto-school and working for them elsewhere, can be called Waki-Goto. It is different, however, with Bizen-school of swordmaking. It divided into many famous, independent groups at a very early stage, leaving only local "mainline head-masters", such as KANEMITSU for the Osafune group, but there were artists with supreme skills like CHOGI, working at the same time at the same place, who can't be called "waki". Therefore no such thing like "waki Bizen" exists. Going back to the sword in question. Bushu Shitahara-school worked quite secluded in Musashi province during Muromachi-period before the rise of Edo as the new capital in "their province". Important feature of Shitahara workmanship is strong emphasis on mokume-hada. Ji-Hada of some Shitahara blades has a resemblance to Dewa Gassan swords including ayasugi-hada. Others are made of pure mokume-hada (which is very rare in general) and will easily lead you astray (see my silly guess). However, congrats to a very interesting sword, Larry. You seem to be a quick learner. reinhard

Sorry Brian, I couldn't resist. Some pics are just too...beyond. But seriously: Henk-Jan and you are right , of course. If there's a slight chance of this person owning a real TADAHIRO, he must be told immediately how to care for it properly and what NOT to do. I really wish, somebody close to him will give him some elementary advice. Owning a Nihon-To is an obligation in the first place. reinhard

Oh, and BTW: Pretending to be a newbie is not very credible anymore. reinhard

On the screen ji-hada looks like konuka-hada to me. This would make it a Hizen-To. Without seeing hamon itself (only kessho masking) and without knowing the measurements of the blade (length, sori), any further guessing is highly speculative. Maybe I'll make a fool of myself, but telling by the hada alone, I don't think it's mainline Hizen (TADAYOSHI/TADAHIRO) but some "next to" artist in the lines of MASAHIRO or YUKIHIRO. reinhard (prepared to face your laughter)

This is a very famous blade by TADAHIRO. Its nickname is: "shibaka(ri)ki-maru". reinhard

Nobody will be capable of giving you an answer on the basis of amateur-pics (no offence). Most reliable source of information is the mei once more. In case you want to investigate any further by yourself, here's a hint what to look for in this particular example: sharp respectively rounded angles in the writing of the name TSUGUHIRO. This is not an expertise, however. Just a notion. TSUGUHIRO was well known and oshigata can be found in ShinTo Hen by Fujishiro, in ShinTo oshigata by Sato Kanzan, in ShinTo Taikan by Iimura and in other books. Maybe you can get one or more of these. I recommend them all. For background information: TSUGUHIRO belonged to the group of sandai (third-generation) YASUTSUGU of Echizen Shimosaka group. This is where you should look for parallels in workmanship. reinhard

Domo arigato gozaimashita. I have a long way to go. reinhard

With all due respect to Morita-san, but this mei doesn't make sense to me. Translating the Kana for vocal "a" as "AN" doesn't make sense to me. Asking for enlightment. reinhard

For those of you still believing in a heroic "samurai attitude" of tokkotai-missions during WWII, I recommend for a starter: Kamikaze Diaries, Reflections of Japanese student soldiers, by Emiko Ohnuki-Tierney It is explaining, on a scientific basis, how warrior ethics of old (which I admire), were pervertedly used to manipulate people during modern age warfare. The book can easily be found and read by Google book-search, entering: "Kamikaze diaries" reinhard

Hi John, There seems to be a confusion about printed and written kanji. I'm sure the TSUGUHIRO meant here is the following one. On the left is an example given in Nihon Toko Jiten by Fujishiro, on the right another one given by Kanzan: reinhard

The mei reads: Omi no Kami TSUGUHIRO (Echizen province, late 17th century, if genuine), but it looks real bad. reinhard

It doesn't really matter, if this dirk was carried by a "kamikaze"-pilot or not. Simple-minded collectors of militaria might get a kick from the idea, but knowing about the sad circumstances in which many young men were forced to give their lives in senseless missions, this is somewhat appalling. Imperial propaganda of unselfish heroes, sacrificing willingly their lives, has been shattered by serious historians lately. As for the blade: Sugata (especially abruptly turning fukura), poorly executed bo-hi (look at the top-end) and crude yasurime make this blade not earlier than Showa-period. Mei is gimei beyond doubt. YOSHIMICHI lines in Kyoto and Osaka extinguished long before this blade was made. It is just a very poorly made Nihon-To, maybe to the hands of a suicide-pilot before his last mission, but this would make the whole thing even sadder. reinhard

Cool down, Brian, you are a MODERATOR. Say "hello" to my good friend Harvey. reinhard (alias Alice in wonderland)

Gilles, To answer one of your questions in short: nagamaki or naginata, cut-down to katana- or wakizashi-size, are common, but not very popular on (Japanese) market. If quality is the only thing you care about, you can get a masterpiece for half of the price you have to pay for a tachi by the same smith, but it will be difficult to sell it again. reinhard

O-SA can be safely excluded on the basis of mei and sugata. That's about all we have for judgement, sitting in front of computer screens. There are two possibilities left: It is a gimei sword, as was suggested because of the yasurime, or it is a blade from O-Ishi Sa-school in Chikugo. They purported the famous name and used it without deliberatly cheating. This attitude can be compared with Mino smiths in Seki, using the "trademark" KANEUJI in a similar way during Muromachi-period. Without seeing the blade itself, any further conclusion is ridiculous. reinhard

What matters for you reads: Unsigned katana; length: 2 shaku 1 sun 8 bu (66cm), attributed to Kashu IYETSUGU (IYETSUGU working in Kaga province). Hozon Token paper was issued by Nihon Bijutsu Token Hozon Kyokai on 22nd day of 8th month in the 20th year of Heisei (August 2008). I'm sure you can read the name of the person, who handed in the sword for shinsa. reinhard