Clive Sinclaire

Gentlemen I have just put a shinto wakizashi onto http://www.To-ken.com under Sword Register no. 116. This blade (oshigata shown) has a pronounced sudare-ba and kikisui-ba that are usually associated with Tanba (no) Kami Yoshimichi to whom the mumei blade is attributed on an old NBTHK Tokubetsu Kicho paper. Also there is interesting tama-ba in the kissaki and I have made an interesting (I think) observation regarding this and the general shape of the hamon. This I would like your comments on as it is a purely personal observation that may be considered unrealistic or worse. However, generally the sword's workmanship is OK but the blade is mumei. After reading Nakawara and Martin's "Facts and Fundamentals about Japanese Swords", in which the subject of unsigned blades is extensively discussed, I am moved to ask if members can come up with any good reason why this sword - an ubu shinto wakizashi, should be unsigned? Your comments on the above, would be most welcome. Regards Clive Sinclaire

Gentlemen You may be interested to hear of the SAMURAI EXHIBITION which is being held in Fukushima. It is organised by Mishina Kenji, the well known mukansa togishi and designed to raise the spirits of the inhabitants, following the tragic events of last March. There are a range of exhibits including kabuto, swords, tosogu etc much of which has been loaned and made by gendai artisans. For further info please go to http://www.f-date.net/2012/01-samurai-1.html and http://www.f-date.net/2012/01-samurai-html regards Clive Sinclaire

Ruben As I just returned from kendo about one hour ago, I thought I should attempt to answer your question, as I understand it. "Modern" Kendo as we know it was started in 16th century Japan when the straight bamboo shinai largely replaced the swords of the estabished kenjutsu schools. This was so that technique and training could be done without causing severe injyury. At the same time kendo armour (doh, men and kote) were developed with the same objectives. It is said that the almost straight sword, tapering to a smallish point, was directly influenced by the popularity of the shinai. As this was mainly taking place in the Kanbun period (1662-1672) the "striaght" sword shape is known as the Kanbun sugata and is an easy jidai kantie point. Regards Clive Sinclaire

Paul I think the key word is "nrealistic. If you are achieving your objectives that have been cultivated and developed over the years, then clearly, your ambitions are, by definition, NOT unrealistic. Now its back to my New Year's day oshigata drawing - Happy New Year Clive

Gentlemen I Throughhout my collecting life, I have harboured an abiding interest in Hizen-to. This was because my kendo sensei came from Saga and arranged for me to meet a number of Nabeshima - mad collector's on visits to Saga. As I wrote in the introduction to Robert Robertshaw's fine book on the subject, these collectors saw Hizen swords as the living embodiment of Bushido, so how could I not collect them also? In those heady early days I would buy almost anything with Hizen on the nakago and so had many waki-Hizen-to but now I concentrate only on the main 4 lines, viz Tadayoshi/Tadahiro, Masahiro, Yukihiro and Tadakuni, I have good examples of all of these. I used to be asked why did I buy those boring blades with suguha hamon? Of course, suguha is only boring if you don't fully understand what you are looking at, and I have even heard it called "the conniseur's hamon"!!! Also, of course, the collecting of Hizen-to is facillitated by the existence of many good reference books, some in English and the availability of good examples at reasonable prices. In more recent years, I have also developed an interest in Bizen works from shinshinto times. In particular, I have managed to acquire a very fine katana by Koyama Munetsugu a well as a good wakizashi by his teacher, Chounsai Tsunatoshi, both of which have excellent polishes. Swords such as these are eminently collectable but were less appreciated 10 or 15 years ago. However it is obvious that they are of fine quality, in healthy conndition and often affordable. In the 1970/80's one would never consider anything later than koto but this was a demonstabley naive attitude which no longer persists. It is unlikely that many collectors today would be able to buy the best koto (Masamune, Go Yoshihiro etc.) but this does not really matter. The serious student can see, study and even handle such things in Japan and I find the desire to own them, a trancetory thing anyway, is an unrealistic and generally unattainable thing. Finally, a brief word on gendaito. There can be no doubt that many gendaito are well made and very collectable. Certainly in the 1970's the Japanese market virtually ignored gendaito as they were viewed as part of Japan's recent militaristic and inglorious past. It was Western collectors who were responsible for initially re-awakening interest in gendaito, especially with swords made at Yasukuni shrine at Kudanshita in Tokyo. These latter swords were also rehabilitated by the polisher, Fujishiro, who lived very close to the shrine. Personally, I have only one gendaito, which was made by Kasama Ikkansa Shigetsugu in 1939. A collector must buy the very best quality he can afford and not harbour unrealistic ambitions a this only creates a frustrated and unhappy feeling.. Here endeth the sermon according the Clive Best wishes for the New Year Clive Sinclaire

Gentlemen This is a good question for a relatively new collector (and father?) to ask. My swords live in a relatively stable and constant temperature with quite low humidity and I prefer to keep them dry of oil for most of the time although I must admit that if we get a very humid summer, I do apply liberal applications of choji-abura. Here it is important not to let it dry out on the blade so it needs regularly checking. I also have all swords lying horizontal or on katana-kake in my tatami sword room. In fact there is also a vertical gun safe in that room, but it is full of guns. I believe it is inadvisable to store swords vertically, more or less for the reasons already given. I think this is particularly relevant to swords kept in koshirae where the oil might gather dust or dirt in the bottom of the saya. I keep a tachi on a tachi-kake next to an armour, and although this is verical the tsuka is at the bottom, as previously mentione As for children, I guess this is all about how they are brought up from the start (the same with wives!). Mine were always in a kendo / Japanese cultural atmosphere and, before the sword room was built, the swords were always at floor level and easily touchable by the kids, but they never touched a sword unless I was present. On one occasion that I recall, when the eldest was about 6 years old and had friends around, I remember him telling them in strident tones, not to touch or go near the swords and to speak to me if they were interested! Regards and a Happy Shin-nen Clive Sinclaire

G'day Gentlemen This is a lively thread, full of Christmas cheer, tolerance and goodwill to all, I am pleased to see! I believe that I am correct in stating, that the giant "Hosho-Masamune" in Yasaakuni Jinja's collection, mentioned earlier, is in fact shinshinto and by Naotane or someone similar. Although I have no references to hand, I do know that we have/had a similar piece in UK, it was speculated that it was made for a sumo-tori. Season's greetings Clive Sinclaire

also, are oshigata always done stepwise using multiple small pieces of paper, or does the paper also come in sword length pieces? Gentlemen I was taught to draw oshigata by Masato Kikuchi who is a polisher in Ibaraki-ken. He was an excellent drawer of oshigata and managed to convey incredible detail in his work. I still draw many oshigata (see http://www.To-ken.com under Sword Register) and get great satisfaction when they come out good. I also believe that such close study of a blade's characteristics is probably the best way to learn about a particular sword. It is not strictly true to say the outline of a blade is a "rubbing", more precisely I would call it a "tracing" of the blade as there is virtually no back and forth action as implied by the word "rubbing". Certainly rubbing is employed when horimono and nakago and especially the mei, are reproduced. With the mei a small circular motion is used. I use sekoboku (spelling?)for this which is black pine wax and comes in a disk which often is broken into small angular pieces for such detailed work. The hamon with hataraki can only be drawn freehand and I use several hardnesses of pencil from H to 5B. As for the size of the paper, I have not found any long enough to draw a full length katana oshigata but A3 size tissue paper is readily available and OK to use. I believe anyone can draw oshigata and all that you need is patience. One of my most valued books is a limited print run entitled "Meihin Katanaezu Shusei" which is a huge book (boxed and measuring 21 x 13 inches). This contains oshigata by Tanobe Michihiro, who is a master of the art and if you can get your hands on it, you would be well advised so to do. I think there were only 600 printed, mine is No 149 a few years ago and I have seen the odd one for sale. Finally, I have also seen the Nagamitsu in lacquer and it is truely amazing. Regards Clive Sinclaire

Gentlemen This "scandal" has been rumbling on for quite a while now and doesn't really seem to be going anywhere. As already stated, here are numerous political undertones that are difficult for gaijin to fully appreciate. Anyhow, I was given these press cuttings recently whilst in Japan. ( I will ask Jean to attach them, he's good like that). Glad you are safely back in China Guido, I almost enjoyed our various meetings! Clive Sinclaire

Gentlemen I am prompted to recall that, as well as being in the trenches in World War 1 with his Japanese sword, Captain Johnnes was also an Air Raid warden during our second little disagreement with Germany. He was to be found patroling the streets of London during the Blitz wearing a kabuto as protection. Whilst on the subject of eccentrics, some will know Sir Frank Bowden who had a country estate at Thame near Oxford, which I visited as he was a patron of British kendo. Sir Frank owned a pet cheetah and was to be found driving around the streets of Oxford with the cheetah sitting in the front seat of his car! He later moved to Windsor and I regularly had Sunday afternoon tea with him and long discussions about some of the swords he still had. Crazy days! Regards Clive Sinclaire

Gentlemen I know its not quite on the subject of this thread, but if you will indulge me, I am reminded that in my early days of collecting (early 1970's) there seemed to have been more eccentric individuals around than I know of now. One that this thread reminds me of was a certain Captain Johhnes, who was a young infantry officer reputed to be the only officer in World War 1, to wear a fully mounted tachi in the trenches of the Somme! I remember him also bringing a Christie's sale to a halt with his demands that we all stand and bow to a blade signed Masamune! Crazy but true Clive Sinclaire

Gentlemen I have put an illustrated report on our recent meeting in central London onto http://www.To-ken.com under the heading of Meetings (follow the link). This is in addition to a recent article, under Articles, entitled "An Important Haruta school Tosei Gusoku", being an armour with a very interesting provenance. As always, any comments would be most appreciated. Regards Clive Sinclaire

Gentlemen I think we should be careful to differentiate between entertainment for the average viewer and serious academic study which we may prefer. We have had this discussion with reference to Last Samurai etc. and I am sure we will see further irksome programms in the future. Regards Clive

Gentlemen May I invite you to http://www.To-ken.com go to "Articles" where we reprint an entry from the last Bonhams, New York, sale of Fine Japanese Works of Art (Sep 13) where there were a number of good armours. In particular, Lot 2281 had a very interesting provenance, but I believe it failed to reach its estimate of a mere $60,000 - $70,000! which seemed a trifle ambitious. I suspect that these armours came from Japan to sell in the US. Let me know what you think. Regards Clive Sinclaire

Gentlemen I thought it was OK but it was full of those annoying things like a terrible metal on metal grating noise when swords were drawn and indifferent acting. I thought all the dramatisation was somewhat poor and many conclusions were drawn from the flimsiest of evidence, such as a) One was a high ranking smurai as he was not in a mass grave and b)Another was an unskilled farmer because of the manner of cuts to the head etc c) Swords were called and depicted as katana but of course there were only tachi at this time Actually these remains have been known about for at least a decade and been widely commented on in the past. Clive Sinclaire

Gentlemen Whilst I am encouraged and flattered that my own unworthy offering is being so well spoken of, I am surprised that The Conniseur's Book of Japanese Swords has not so far been mentioned. Regards CliveSinclaire

Jeremy Having written the above, it just occured to me that maybe your sensei wants you to send your swords to this polisher, who will be well versed in the torokusho-shinsa or registration process. If this is the case and you are going in October, it is quite urgent that you dispatch the sword. I think the Toyo area Torokusho-shinsa is held on the first Tuesday of each month, is that not so Chris?. Just a thought. Regards (again) Clive Sinclaire

Hi Jeremy I am very surprised if what your sensei has arranged is able to circumvent the registraion process. I often send swords to Japan for restoration and they always go through the same registration process, there is no special dispensation for restoration that I am aware of. Also beware, that unless your sensei is familiar with transporting swords, he may have misunderstood. If I were you, I would send the swords to your sensei or a handling agent, maybe a polisher, a good couple of months before you arrive and allow him to register them at Torokusho shinsa. He would also need to arrange for export licenses etc. I have known of a British Iai-do team having all their swords confiscated at Kansai and having all sorts of trouble retrieving them. Unless your Japanese language skills are excellent and you are prepared for a long delay at customs, whilst they call in outside police for a temporary permit to be issued, I would not try to walk the swords through customs. Finally make sure that none of the swords you are taking are Showa-to as these are still illegal in Japan and you don't want that as an added complication. Good luck Clive Sinclaire

Gentlemen I have today been cataloguing a gendaito and, as this is not really my area of expertise, I thought the following might find answers on this esteemed message-board. Any opinions would be greatly appreciated: This sword that I have been cataloguing, is made and signed in a tachi style and has a superior sugata to the more stubby gunto sugata. The calligraphy of both the mei and the date, is executed with a very thin chisel which makes an oshigata very difficult. The yasurime are similarly carved in a o-sujikai style with a kesho finish. According to John Slough in his excellent book of oshigata entitled “Modern Japanese Swordsmiths 1868-1945" this is by Kojima Kanenori whose real name was Kojima Taro and who was born in 1907. During World War 2 he served as a Rikugun Jumei Tosho in Seki. On page 56 of the book is a nakago which shows the full mei: Noshu Seki Ju Kanenori saku (A) which is captioned “shoshinmei” (true signature). Facing this is another oshigata which is an almost identical sword to the one described above (including the microscopic stamp named as a NA STAMP by Slough) but the calligraphy is quite different from the previous shoshinmei, B and B1). This latter is captioned as Nakirishimei. The term Nakirishimei refers, according to Slough, to mei that were applied by a Seki name-cutting specialist. He also compares the character NORI to a similar one on a sword with Showa stamp by Kanenori © and then by a further Seki-stamped sword by KazuNORI. The point being that on all three of these swords labelled as Nakirishimei, the almost identical carving of the character NORI according to Slough, indicates that they were all carved by the same hand. This gives me pause for thought and some reflection. I am not convinced that a specialist name-cutter would carve a name on a hand-made sword such as this gendaito, even if it were made at the Seki arsenal. If someone went to all the effort of producing a sword, it seems that the relatively short job of signing it would not be a chore and might be insisted on. Moreover it is difficult to see how any artist might allow another to sign his work in this manner. Sometimes I have heard it said that a sword was signed by someone other than the maker, because the actual maker was unable to read or write. I find this theory untenable as anyone, even I, can learn a 2 character name such as Kanenori, in less than a single hour! That it looks different from the so-called shoshinmei is undeniable, but this could mean that it is by another of the same name, or it is dai-mei or in the case of the KazuNORI maybe he changed his name. I can understand the use of a specialist name-carver on Showa-to as part of the mass-production line, but that is a different situation than a hand-made blade, I think. Slough also uses the term Kazuuichimei which certainly is a noticeably inferior mei as shown on the examples in his book and is easier to understand, although I have not come across this term before and am unsure what the difference between this and Nakarishimei is or who else might have signed in this untidy manner. Also, does anyone know the significance of the NA stamp which I have not seen on any other swords? I am sorry that this is rather a long and detailed posting but I hope that someone may clarify these things for me as I do not believe that I have encountered these terms, except for Shoshinmei, of course, elsewhere. Regards Clive Sinclaire

Hi Barry Good to hear from you and I am pleased you still have that Tadahiro which I have an oshigata of tucked away somewhere - I remeber it well! Best wishes Clive Sinclaire

Hi Chris I am afraid that it is unremmitingly and overwhelmingly bad news and quite depressing. However, "3 little marks called "sanko" are considered very lucky" and a midare hamon which just passes the ha-machi and then comes off of the nakago the book says "with steel running like in this diagram and the next, points out that you will be loved by everyone, enjoy good health, prosperity in your house and family, a long life, and your social position will be gratly heightened" and so hopefully there is some hope for you at last! Regards Clive Sinclaire

Morita san I rather doubt it myself but this book was taken from "an old Japanese Mss (manuscript?) by O'Hamaguchi San and Talbot Clifton, FRGS, etc) and printed for private circulation in London in 1885. I guess they may have felt differently 126 years ago. Also I believe it was studied quite seriously in old Japan - is this so? I never knew this was called ken-soh, so thank you for that information. Regards Clive Sinclaire

Gentlemen Spurred on by the subject of "FATAL FLAWS" recently on this board, I may have finally discovered why anyone might want to by such a sword! Maybe they want to tell fortunes! Fantastic as this may seem, I remembered and actually found, that I have a book which dates back to about 1900, entitled "Fortune Telling by Japanese Swords". I will ask Jean to attach a couple of pages as an example for your enlightenment. Regards Cl;ive Sinclaire

Hi Peter There is no reason to register swords with To-ken Society of UK other than this is a small forum where we can discuss and illustrate swords, usually owned by members. They tend to be "ordinary" swords that might appear in "ordinary" collections. (it also gives me an excuse to borrow other people's swords and draw oshigata!) By the way, thanks Jean for putting my pics onto this board. I would point out that as it is a very new polish, the hadori is very fresh and it may be a little difficult to see the hamon clearly in the pictures because of this, although it is clear when viewed properly. This will improve with time and uichiko. Also, although not shown in these pictures, the sword has a new habaki (gold leaf over a copper base) which was made by Miyaguchi Hiroshi who is a well known shirogane-shi. Finally, it has been pointed out that on the Sword Register, there is yet another typo! Obviously the nagasa is not 3.4 cm but 43.4 cm. I can only imagine that I got over-exited with this sword and failed to pay the necessary attention to detail when checking the text that it deserved. Regards Clive Sinclaire

Jacques Of course you are quite correct and I managed to confuse myself. Sorry about that. Anyhow both Fujishiro and Conniseur's Book give 1862 as the year he died and so I guess that is probably correct. Jean, I will send you the pics asap. Regards Clive Sinclaire