John C

Jo James: This last bit looks like part of the date. All that I can see is a day (auspicious) in the eighth month. I don't see the era or year listed above. John C.

Based on the lack of dark features typically seen on oil quenched swords and what I think may be the presence of hada, I would lean toward partially traditionally made. I say partially because many swords were made with air hammers and other machinery so are not completely traditional. The bigger problem is all the scratches. It looks as if someone went to town on it with sand paper, particularly around the kissaki. Unless it were dirt cheap, I would pass. I would rather have a standard rust free steel kai gunto blade than a beat up semi-traditional one. John C.

Thanks, Sam. He must have just put it up because I checked yesterday! 5406 is new to the list. Interestingly, it's closest number, 5419, uses the same stamp. John C.

Unfortunately, the kogatana appears fake as well. It has the shape of a steak knife rather than a legit kogatana. In terms of recognizing a fake (or reproduction), like others have said it just takes time and study. An analogy would be studying BMWs for years, knowing their history, manufacturing plants, where their parts are sourced, body styles, series numbers, etc. Then a friend shows you a volkswagen and asks if it is a legit BMW. You can see in a second that it isn't. John C.

This may not be what you are looking for, however here is a nice article on their history that does list several of their artists. https://jacksonsantique.co.uk/insight-the-komai-company-Japan/? John C.

I was thinking pre-war (Taisho era) and converted to gunto. But agree not standard gunto and not very old. John C.

Sure. Next time i'm in a "deep valley" I'll swing by. Actually, the whole thing looks like a pretty straight forward restoration. I think the sticky parts are going to be repairing the hinges. I'll leave that up to a metal worker like yourself . John C.

If the distribution of type 95s as reenlistment gifts were a common practice, it at least gives us another explanation as to how swords were brought back other than as "war trophies." John C.

@Bruce Pennington Not sure if this article would be helpful as I don't know what the caption means by "souvenir." But if you have or can get a copy of this Dec 45 issue, there is a picture of "souvenir" swords being given to soldiers for reinlistment. Can you tell by the pic what kind of swords they are? John C.

https://www.ebay.com/itm/147156846123? John C.

Steve: According to Mal Cox's Gifu Tosho write up (available in downloads), he died in 1983. Mal has included a lot of information about Kanemichi you may find useful. John C.

Piers: I thought you might be interested in this issue (24) of Daruma magazine if you don't have it already. It has an article on the history of lanterns. It's about an 8 page spread. John C.

…I realize this may not be to everyone’s taste. The yari is a fukuro yari signed Chikuzen Shimosaka (Shimosaka of the Chikuzen school).This project is a culmination of four different stylized decorative techniques giving homage to the original pole and yari, though not copying it. The goal of the project was to infuse a variety of decorative techniques using modern methods and materials. A more stylized blend, if you will, rather than an exact replication. The project includes the following stylized decorative techniques: Mokume (木目) – wood grain pattern in an otherwise flat surface. This was to honor the old saya that had a wavy grain pattern to it (see pic 3). Tsugaru-nuri (津軽塗) – sanding through the top black layer to expose the red layer underneath. The yari had this same effect, though not intentionally. At some point, someone sanded off the urushi to expose the name (see pic 4). Kin-mushikui-nuri (金虫喰塗り) – the golden worm eaten effect. My take on it included a more rustic interpretation with brushed golden worm trails (also pic 4). Maki-e (蒔絵) – powdered gold sprinkled onto or mixed into urushi. In this case, I really liked to stick with the red on black theme. So my interpretation was a very light dusting of copper mica powder. It has a very subtle effect visible only under certain lighting (also pic 4). In addition to the above, the saya is in a standing or display form, as often seen in Japan. The base layers are 5 coats of black Japan paint followed by 3 layers of red and an additional 3 layers of black. Each layer was applied then NOT sanded smooth, but rather sanded lightly to highlight the brush strokes. Each layer built on the last to create the mokume effect. The layers also allowed for the depth of the nuri. Nuri were sanded in, exposing the red layer in the middle. Three layers of shellac to seal were next then gold gilder’s paste was thinned and brushed on. This was followed by 3 layers of gloss lacquer (no urushi for me. Really allergic to sumac). The mica powder was lightly brushed on followed by 3 more layers of lacquer. Not quite as time consuming as traditional Japanese techniques. But tedious enough. Every layer had to dry for 24 hours before the next was applied. I hope you like it; and more importantly, I hope you all are inspired to create your own saya and artistic interpretations. John C.

Nice! Fortunately, my door came with a key so no issues there. But I had always assumed the drum locks were used primarily in China. Thanks for the info. Wish I had seen it before designing mine. I would have copied it!!!! (just kidding, of course) John C.

Personally, I think shortening a broken blade to allow its continued use as a weapon is both warranted and necessary. Aesthetically, I like the shape for its new intended purpose - slashing or stabbing. Within the context of battle, needs must. John C.