edzo

Hi all, Thought I'd pass on info on swords i looked at for sale. Non Traditionally made military mounted swords. One is signed by Takehisa and dated 43 and the other is mil mounted non-commissioned officers katana dated but sig not translated or unclear. I understand that they are on web site willishenry.com for auction on 21st Nov. Items 128/128A. Had no estimate may be a deal for someone looking for this. Good condition, i saw them no damage or abuse to the blades. I hope this is ok just sharing. Ed F

Hi Jean, I don't currently have a rusted blade to study I'm just building a knowledge base and am serious about the art form, study techniques, theory and protocols. I did inspected a sword (shinto), several weeks ago (part of a collection), that when I removed the tsuka from the nakago rust fell of and out. The blade was fine but i wondered how to properly deal with that just from a conservation point of view. I advised the owner not to touch it and expect I will be getting the blade back again in the near future to consider it. I have a lot to learn and this site great for that, its the human and experience component of it (this site), that makes it reign, at least for me. Thanks for your input. Sincerely, Ed F.

Hi Ted, Must say thats a great idea! I will equip myself with one of those. Thanks again, Respectfully, Ed F.

Hi Franco, Thank you very much again Franco, that is very helpful info should i need it. preserve and protect. Respectfully, Ed F.

Hello to all, Researching what I believe is a 2nd gen. Kunikane all other things so far confirm but the blade consists of a maru-mune which i understand to be rare however i cannot find a blade by the smiths (lineage) that specifies one. Should that be a flag? Similarly a 3rd gen Yasutsugu blade includes a iori-mune but with a gentle oroshi. The other dilemma is that the provenance provided to me is that the Kyo-Gunto (Russo-Japanese War), mounted blade was surrendered at the end of the war in Sasebo, Japan and later brought back in 1945. The hilt includes a metalic brass, silver and red sake bottle type tassel. Given the time frame of the earlier war and 1945 I wondered if the mounting and or tassel was from the Russo-Japanese war period (45 years earlier+-) and handed down in its original mounts? I guess I need to know where i can view a tassel and mounting from both periods. The Kyu-Gunto that i have inspected, absent of tassels were all of an inferior quality to this mounting. Any ideas or opinions are welcome and appreciated. Respectfully, Ed F. I wanted to add that the Kyu-Gunto handle backstrap is embelished with a silver Hachisuka family crest (mon) if that is of any help. Edited 10-23-09) Just rec'd "Swords of Imperial Japan, 1868-1945 Cyclopedia Edition" by Jim Dawson, great book! have solved the mounting issues, just would like some comment on the maru-mune issue with regard to the Kunikane blade mentioned above. Thanks.

Based upon the statement above, an 'unrated sword smith' is very unlikely to have his work or his mei copied. Still, before investing in a new polish, if that's the direction your headed in, it wouldn't hurt to send an oshigata of the mei to the NBTHK or NTHK for an initial opinion. If nothing else, thoroughly oil the sword to begin stabilizing the rust. Let the polisher clean it up if that's where it is going. Assuming the mei is valid, the sword smith signed this piece which is some indication of his best effort and pride in his work. If you think this sword is one for your collection perhaps the expense of investing in a polish could be rationalized. If it isn't, suggest preserving it as best possible with careful attention, study it for what it has to offer, then let it go once you're ready to move on. These are decisions requiring that you set collecting objectives and do your homework. One of the difficulties with an unrated sword smith is the lack of kantei information about his personal workmanship, which means researching and comparing the sword to school work descriptions. Hi Franco, I think you suggestion is a good one. I have a question regarding the oiling of the blade. How do you apply the oil to the blade? I am thinking if you rub it on the particulates in the rust may scratch the blade itself. Is this mute or should it be conducted and applied a special way? Thanks Ed F.

Hi Grey, and thank you for your input which I consider very sound. I concluded that the nakago was original as a result of the following thorough obsevations: 1. The Aoi crest, is relatively close to the machi and does not show any signs of being previously finished or exposed beyond the habaki including the area around it and there was no indication of a weld effect. 2. The mekugi-ana (upper one) is exactly where the smith locates it, based upon several oshigata I reviewed. 2. The end is correct for the smith. 3. The file marks (yasuri-me) on the sides and edge are consistant and un-interrupted. Thank You again Grey, Ed F

Ô-: (大) A prefix meaning large, great, greatly Suriage (磨上 or 摺上) shortened If you've already concluded it is not shortened, then how can it be "greatly shortened" ? Thank You, Giuseppe, I am learning and forgot "O" represented large or great, thanks again, appreciated your input. Will process better next time. Respectfully, Ed F

Hi to all, I have a question if someone knowledgeable has any idea. I am cataloguing some swords and learning about them. I have a blade that have two mekugi-ana in the nakago. I have concluded that the tang was not shortened for a number of reasons. The primary one being the location of them and the mounting it rests in. This is a shint blade. Would it be proper to refer to this nakago as UBU or because it was altered (just by the additional mekugi-ana, & not shortening) O-SURIAGE? Thank you in advance if someone can assist. Respectfully, Ed F

Hello, there is your answer, sunlight on an overcast day is generally too diffuse for revealing ashi. Hi and thanks Franco, What I found most amazing was that the blade had an incredible amount of activity that was not present on my first inspection except for the sugha and the nioi ashinaga, i thought at that time that was it, and later (second inspection), to see the other dominant activity it seemed like i was looking at a different blade. To me amazing and a real learning experience! Thanks for your input, be well Ed F.

Hi Fred, I am a virgin in this area of expertise but wanted to contribute my thoughts, they may be of no help, anyway it is clear from the photos (only), that they look very well executed and skillfully made. They seem to have a "look" of mordern for some reason, maybe 1950???, just an impression. The secong thing that concerened me was that the signature when compared to Ludoff's posted photos didn't look right on a number of strokes. I will say that probably i'm wrong and that it definately is a beautiful work. Good luck with it. Respectfully, Ed F

Hi again George, Just to give you a slant on what my research on the Shodai Yasutsugu, the kaji for Tokugawa, I read that the use of this iron was pridefully inscribed on the blade and probably like other trends, it was rare and may have been considered ahead of the curve in a very competative trade. The qualities of it must have met a standard, at least in terms of a smith of this status to have used and signed. Just a slant on it, my resources were from either articles or links on this site, I think. Hope u have a great day and fall into a treasure! Respectfully, Ed F

Hi Mark, Thanks very for the input. I am planning to set up a staging area where I can experiment with lighting. I come away with this now understanding better that different lighting variances & techniques may reveal a wealth of information about a blade. Respectfully and gratefully, Ed F

Hi Brian and thank you for the advice. I have noticed in many photos that have been posted in various locations that the "yellow" tint appears, i wondered about that and this might explain it. I will take your advice along with others and try and perfect a technique. Thanks again, Ed F.

What changed between the 1st and 2nd time, light source, angle, height, method of holding the sword? Anywhere from a clear incandescent 15w to a soft white 40w to 100w incandescent bulb will work to see ashi. Much has to do with positioning and angles to get the light to deflect off the surface of the sword back toward the eye. Many collectors sight directly down the sword, may I suggest a more deflective angle with the tip of the sword still pointed toward the light source, but with the nakago extended to one side, then play by slightly twisting and slightly raising/lowering, and so forth, until the light deflects at the correct angle revealing activity. Different lighting (wave lengths) will reveal different features, some more than others, if nothing else experimenting/playing with varying light gives more reason to study the sword Hi Franco, Thanks for your input. I inspected the blade on a sunny day near the window the first time utilizing the sunlight and an overcast day the secong time. I am negotiating with the owner of the sword at his residence that does not offer the ideal conditions or lighting devices. At the second inspection I was flabbergasted to see the extent of activity in the hamon (lesson learned), but bewildered by the lack of the presence of the ashinaga observed the first time. Thank you very much for your recomendations I willfollow your advice. Respectfully Ed F

Hi to all, I have a question regarding lighting for inspection purposes. I think (personally), my questions are contributory to the site because it shares my experience (in its infancy), of learning about Nihonto that other members can draw on. That said this is my question and any response will be appreciated. Thursday I re-inspected a blade, for the second time. On the first inspection I noted that the Hamon included brilliant(nioi) twin ashinaga (long twin ashi being slightly opposing, paired and symmetrically occurring along blade from the munemachi at equal intervals which appeared to be 1- 1.5 inches (estimated), apart reaching to the ha from a suguha hamon. On my second inspection I could not raise the ashinaga at all. Is there certain or preferred lighting or technique that I might use to bring out the activities in a hamon? Thanking you in advance, Respectfully, Ed F. “There are some things that are not referenced in books”

Hi George and thank you for your rapid response. I currently have a 3rd generation nanban tetsu Yasutsugu and a 1st or second generation Kunikane and this has not been helpful and why I asked. I wondered if the Kunikane could be nanban tetsu, just a thought but cannot find a single most characteristic that would conclusively lead me in that direction. Respectfully and thankfully, Ed F.

Hi Dwayne, I'm a new member myself. Welcome aboard, its a great site complete with experts, students and people like us. I have found the site to be of an incredible knowledge and opinion resource. Like you I have been bitten by the art form and am building on my knowledge base so that I will not be taken and might build a respectable collection. If I may, my recomendations to you would be: Do research first, don't jump (buy), until u know what u are buying. Then buy what makes your heart sing. Base your purchase on what an item is worth to you and not what you think you can get for it. Keep in mind its not the number of items its the item that prevails at least in terms of a collection. Beside this site you should google everything and you will find revelating info. Good luck and looking forward to hearing from you. Respectfully Ed F

Hi Peter, I'm new at this but a consideration i would have might potentially be the result of a blister. Just a thought not having the blade to study and i'm new at this. Hope u get a good result from your question. Resectfully, Rd F

Hi fellow members, thought i'd post a question to expand my knowledge and learning efforts. I would be happy for more than one opinion but will be happy with any. Thank you in advance, and yes i've been bitten! Mekugi-ana I am studying an art blade and have a question regarding mekugi-ana and blade shortening. As I inspect the blade in whole it appears to be of intact proportion. This nakago includes two mekugi-ana approximately 1.25 inches apart. I am wondering if the latter mekugi-ana was to accommodate a subsequent hilt mounting and not for shortening of the blade, or if my thinking is off-base. The reason for my thoughts is the following: 1. 17th Century Katana in a Kyu-Gunto mount, likely a special order with elongated hilt. 2. I inspected a number of papered signatures and paid special note as to the location of the mekugi-ana. In the comparrisn blade studied, the mekugi-ana is located the same as the highest on the blade tang that I have, the lowest one is not. Another question that I have if anyone can help is; Is there a technique or method, of acceptable practice, that would enable me to distinguish between nanban tetsu and the traditional native product? I am equipped with high magnification equipment if necessary or helpful. Respectfully, Ed F.

Hi Clive and thank you for your response. If you read my response to Grey, just below you will understand my concerns with the paperwork, but i cannot translate it to see if it matches my research efforts. FYI the blades are Naval mounted Kyo Gunto with an admirals tassel and Kai Gunto with officers tassel (Russo-Japanese war period, and are in excellent condition). Thanks again Ed F

Hi grey and thank you very much for your input. My dilemma is that I have ranslated the mei on the Yasutsugu katana and by a process of intensive examination of the characteristics of the "Aoi" mon and the signature I have concluded that the blade was forged by Edo Sandai Yasutsugu (3rd generation,(Edo) not Echizen. Signature reads "Yasutsugu Motte Ban Tetsu Oite Bushu Edo Saku Kore". The forging characteristics are consistant but there are no references to the imported steel or Edo made this. With regard to the Kunikane blade It is signed "Oshu Sendai no-ju Fujiwara Kunikane" and there is no mention of Oshu, or Fujiwara, as a first name. I will have to have the paperwork translated as I can only translate fragments of it. I'm not SURE that the papers are correct. Thanks, Ed F Edit: Wouldn't Nidai have been the second? That was what my research concluded.

Thank you for your effort clive, i have learned a lot from u and your many posts, i am looking forward to the book, i ordered it today along with another shop cart item (swords of Imperial Japan by Dawson) for my library. Thanks again, Edzo

I have seen a very similar mon worn on the robe of Oda Nobunaga in a kuniyoshi woodblock print I had. Edzo Edit: He was a powerful daimyo during the 16th century, you should be able to google him.

Hello everyone, A person that I know is considering selling his swords. My inquiry is not for value. He provided me with some paperwork that was obtained at the time he acquired the swords around 1945. I am wondering if the paperwork is of any contributory value in terms of appraisal of the swords. I will attach photos of the docs and hope that someone is familiar with this type of paperwork. I f anyone can comment on the smith or paperwork itself it would be greatly appreciated. He has a pole sword as well but with no docs on that. I do have some photos if anyone is interested. Thank You, and respectfully, Ed F