Benjamin

Here is a Terukane and a Sukenao to compare If someone has a similar hamon of Sukehiro, I would be interested . Talking about yahazu (矢筈), Hamon type resembling arrow notches or a fishtail, I would tell the Sukenao below have some or I don't understand what yahazu is. I think I can see the "half montain" Jussi talked about on the Terukane and the Kanesada shodai if it's a more rounded top with a less slanding slope Please correct me if I'm wrong.

"Creating something that holds the essence of a person's life changes the mindsets toward the external world" (said with tiredness in the eye at a probably very late hour at the end of a probably very long day of work...). All my respect!

For beginners but always interesting and I like the lesson about nihonto manipulation in the second part. I didn't know we could use oil also for nakago, and I like the details like putting back the bag on the koiguchi to avoid putting dust in shirasaya).

I'm joining Colin to wish you a fast and full recovery.

That's a 404 error for me, I think you can add "post-a-cool-or-interesting-sword-related-news-story-before-BIG" again on your list (decidely, NMB is veeery challenging...)

Welcome to NMB Harry!! You'll find a large amount of information by incredible people with incredible knowledge here, I'm a very beginner myself and you will see the NMB is perfect to sustain your enthusiasm. Do not hesitate to ask question. Do you think we all have our own sengoku period ? By the way knowing Japanese will be a great benefice to understand this complex field. Classical books recommendations for beginners are usually : - Markus Sesko, the Encyclopedia of Japanese Sword, and countless amazing publication you'll find on his website. Some are reference here. - The Connoisseur's Book of Japanese Swords by Nagayama never deceive the beginner. - Study of Japanese Sword by Yurie Endo is very pleasant to read, you'll find an online version. - The Japanese Sword, a Comprehensive Guide, by Kanzan Sato is very recommended. - Fact and Fundamentals of Japanese Swords by Nakahara is also a great addition. And you'll find topic about books searching the forum. Best regards

probably wrong but here's my try : And thank you for the kantei Jacques. For now it's a very interesting exercise whereas I also used books to make my try.

You're the Madame Michu here. And you're the one who wanted to prove something, I just said your way was irrelevant, and you failed, I wasn't convinced. It's up to you to present a "proof" with a valid protocol. Oh he can live his life around, but I will not let him say such big B***S*** just because he is too unpleasant, I will not block him as I'm not the kind of guy that can't stand to watch those people in the eye, and I will not always refrain to speak to him the same way he's speaking to others. Off course Kantei is great! You may see it as a paradox but I wish more posts like these, but not "kantei" as trap with the aim to satisfy the poster's ego. That's sad he is the only one posting that from a long time. And many refrain to anwser because of his behaviour. You see what you have but you don't see what you don't have. How many young collectors / apprentices with great potential didn't even tried because of his toxic attitude? I disagree with the state that Nihonto field should be "hard" at the point that we should tolerate people being harsh between them. And it's a brake to its evolution in the future. The worse is that some time Jacques is brillant, and some time he post total BS, his average reliability is not so good as he almost never reference his notice

The nakago shouldn't be shorter for an uchigatana ?

That's very informative Kirill, thank you very much, I would add a fourth problem : improvement of photographic material : of course, having it in hand will always add somethings, but you can't say it's impossible to assess a sword on photos, some people here do it frequently. That makes me think that Japanese way of appreciating things and developing constantly disappoint me (in a good manner), we should not confound occidental scientific approach with Japanese cultural and artisanal approach. Not saying one is better than the other of course. Sorry to not waiting your authorization to speak. For the photos : buy eyes and you'll find it by yourself! and buy ears also, you could listen to people asking you to act in a less disrespectful manner.

Sorry, I can't refrain Posting a drawing to prove you can't judge on photos ... Posting a photo as anwser... to prove you can't judge on photos... Posting an exception to enact a rule... Not quoting any reference... We are on the pinnacle of scientific approach there! Not very serious...

Welcome to the NMB aka the AWJMB "Arguing With Jacques Message Board", as you'll see, his attitude often attract controversies. But please, no need to offend innocents ones, Jacques behaviour only commits himself. And is not a norm here in France. Many Frenches here will be pleased to help you if they can. Best regards. Benjamin

Thank you Lewis, that's indeed a beautiful sword you link, with strong similarities : long sunagashi under to the hamon limit, itame with clear Chikei and hakikake Boshi. By the way, I like your Yamato senjuin as well.

Here the second sword I wanted to share with the same lighting, that was a cloudy day but rays of sunlight sometimes enlighted the steel. This is a Koto - Tokebutsu Hozon - Sekishu Sadatsuna, pupil of oif Naotsuna witch could have been one of the ten brilliant disciples of Masamune (but there is a debate on his name). Not to confound with the other Sadatsuna from the Ko-Hoki school (Heian era). Here is a Nanbokusho swordsmith with a strong Soshu influence. By the way Sekishu was not far from Bizen and had very qualitative black sand to make steel. here the link to the commercial site https://eirakudo.shop/607544 for professional pictures and diverse information. This sword appealed me by this all along sunagashi that run like a waterfall from the top to the bottom of the sword : I call this whirl the "eye of Fudo Miio" : And this Kaen Boshi complete the flame theme of Fudo Miio And the tsuba is depicting a Fudo Miio under a waterfall, mirroring the sword.

Under bulb light, the hamon play a "wavy" effect I love, I called this sword "Kaga no Nami" (Wave of Kaga) WhatsApp Video 2024-11-30 at 09.31.50.mp4

Hi, It's been some time I wanted to share my swords but I didn't want to limit the presentation at the commercial link where I bought them. I don't have photo material and pro light so I decided to simply photograph them under day light. It was a surprise as pictures revealed lots interesting material. Specificaly the Nie and the hada, I litteraly rediscovered my swords. So here the first sword I share : A Shinto - Tokebutsu Hozon - Kanewaka Nidai (aka second generation), also called Matasuke. The Kanewaka school was a renowed a school of early shinto in Kaga (or Kashu), affiliated with the Maeda clan of Daimyo. Here the link to the pictures of the seller AS22667 Katana:Kashu Ju Kanewaka(Matasuke)(2nd generation)(NBTHK Tokubetsu Hozon Token) – 日本刀販売の葵美術 I read from multiple source that it existed funny popular expressions to describe the price of these swords, as you had to sell your daughter to buy one or even a bad samourai was a good choice to marry if he possessed a Kanawaka. According to Dr Anthony Thomas https://japaneseswor...dex.com/kanewaka.htm Matasuke's swords rated Wazamono (but I didn't found this elsewhere). Koitame - mokume Hada Boshi

I must disagree, I think it is the same thing for koshirae as for blades that are all part of Nihonto field and all are traditional craftmanship. But I understand your point defending your sword, your tsuka is not perfect but is beautiful whereas I think I can see the difference with a traditional one. And I understood you had worse before. My apologies If I offended you, I was not targeting you or someone specifically.

Dear Nicolas, IMO, and it's a personal thinking that can be discussed : to date, Michael Sabatier's working has nothing to do here, and that's not a quality matter. He honestly says it himself on his website and on interviews, he's not making things as the Japanese traditional way, he say himself "being in margin" and assume that. He is autodidact and never learned traditional techniques. He may be amazingly good, he's not doing more Nihonto than Chinese makers of katana. Nihonto collectors are not searching for a tool, a toy or a decorative object, they collect essence of antique art in an object that "embodied" the ancient tradition inherited by the craftsman, generations after generations. That said it seems to be a very talented guy, doing well lots of things.

Not exactly the subject but I finished my katana hako, I made it in paulownia wood and used that beautiful hardware https://cabinet-hard...q=peony&_ss=e&_v=1.0 Again it's not perfect as I don't have professionnal tool nor technique but making it was very pleasant and cheaper than buying a new one.

Thanks for the correction Jean, I learned something

E=mc² so m=E/c² so the more the smith put energy and dedication to his work, the more the blade is heavy .. Joke appart, I think that's a matter of volume (thick blades) and density. I imagine that the smithing lamination technique wich use repeated hammering will crush the steel and increase it density. The more a blade as fold, the more it would be heavy at same volume. Just deduction, I haven't source to say that, let others correct me if I'm wrong. But if my hypothesis is right, nashiji or koitame hada would create heavier blade than oitame hada.

Hearing some of you could lead to think that rust doesn't exist anymore... just a problem of our imagination... That's very lucky of you if a X decade of conservation in koshirae didn't alterate your sword but don't spread your example as it would be reproductive. And again don't use a X decade habit to make conclusion on a X century aim to preserve. Shirasaya saved blades when their owners couldn't clean them daily or weekly (as warriors did in old time) or oil them twice or three time a year (as collectors do). Because you don't know what will be tomorrow and s**t happening some time in life, some of us could be temporarly not capable to see at our swords regularly. Happily for posterity most of us have the habit to conserve them in shirasaya.

I agree with your point of view but more specificaly some koryu have branches all over the world, with local Sempai legitimitaly représentives of the japaneses Soke. These ones or high grade Japanese representatives frequently travel to visit occidentals branches. Of course they knows about chinese copy. They frequentely allow experimented trainees to practice with old nihonto. Sometimes swords deals are conducted inside the dojo, even for non Japanese.

Hi, As stated before, practicing with an antique sword is not a taboo, please watch this video for example (interesting introduction to Nihonto by the way). And Iaido is not Battodo, that is not "shopping wood", we talk about martial art (koryu or not) that need as much respect as nihonto. But as stated as well, we are not the one that could answer you. Here you will find collectors that desire among all preservation. And please don't compare a 15 years use with a 5 to 10 century preservation. If you practice for so many time, you must have a Sensei or a Soke to guide you through your desire to practice with a shinken. That's up to him that you should seek your answer. Not in a forum, as qualitative as it is (and it is!) And if you are directed toward this direction, choose a sword good to do that, some Japanese sellers indicate swords good for Iai (even antique).

In my comprehension, it is more a mounting terminology than a blade terminology. Before Muromachi period, katana and wakizashi didn't exist : all long blades was necessarly tachi, worn cutting edge toward bottom (except "tanto" of course, and there is the pecular case of kodachi "short tachi"). Then between muromachi and Edo, the katana emerged and became "fashion", lots of swordsmiths made blades intended to be worn as katana and signed them in omote, or reshaped old tachi to mount them in katana. IMO, In that case the blade itself was not a really tachi or katana but a blade worn as tachi or katana. Maybe Hizen swordsmiths continued old tradition of ura mei despite the sword, and this is perfectly understandable : the smith is not the one who choose the use of the blade, that's the warrior. Sometimes our modern way to desire classification must be confronted with a more diachronic point of view of language evolution. NB : A perfect exemple : I said "tanto" about pre-muromachi but Nakahara in "Facts and fundamentals of Japanese swords" explain that it is a modern term that didn't exist not so long ago.