outlier48

Hi all - very new at this but am I correct that the date reads "Kouki ni sen roppyaku go nen hachi gatsu juu-ichi nichi" (August 11, 1945)? Charlie Brashear

Hi all - I don't have any light to shed on the question of status, but do have a tsuka with 2 color ito you might find interesting. Sorry, cannot seem to find a photo of the entire tsuka (will post when I take new pics). Unfortunately, I am missing the fuchi (no doubt lost many years before I inherited this tsuka) but am ever optimistic of finding it (or a suitable replacement) someday. Regards, Charlie Brashear

Moriyama-san - Thank you very much! Charlie Brashear

Hi all - just curious if anyone has found a reference to a smith using the mei 菊秀? I found the mei interessting but could not find a reference to it - admittedly I have a very limited amount of reference materials. Is it possible to see pics of these blades? Charlie Brashear

Hi Franco - Thanks for the input. Your advice makes sense to me - let the sword and the polisher determine which style is best. However, I think there may be highly qualified toshigi who have different polish style "preferences" and it may be possible that a blade could show well with either style polish. Hence, my dilemma: what do I do if I get differing opinions from highly skilled toshigi regarding the preferred style of polish? In such case, is there any "rule of thumb" I could follow? Or, am I completely off track here (such that virtually any highly skilled toshigi will come to the same conclusion once he has the blade in hand)? Sorry to be so "dull" on this subject. I am digging into the reference materials. While this wak was not forged by a really famous smith, it certainly will "out live" me and I ultimately want to see it properly taken care of so it can be enjoyed by others long into the future. Regards, Charlie Brashear

Ford and Brian - many thanks for the input. Also, I don't know why I didn't see the articles before - just looking in the wrong place I guess. Charlie Brashear

Hi all - I have an early shinshinto era wak (~1785) that I may be sending for polish (which it truly needs and I think deserves). I am beginning my research into the difference between sashikomo and hadori. I'd appreciate your personal opinions on the pros and cons of these two forms of complementing the Hamon in the Shiage process. I'm not trying to start a heated debate; just trying to expand my knowledge. I would especially like to hear from any togishi. Thanks, Charlie Brashear

Hi Peter - I am very new to all of this so I could be way off the mark. I found several smiths under this name but could not find one that was reported to have used a niji mei. I think one of the Hiromitsu smiths from Sagami (Soushu) used the mei - 相州住廣光作. Also, you may be correct about a later generation smith - the nakago seems to me be in nearly "pristine" condition. BTW - any pics of the other (ura?) side of the nakago? Hopefully those on the board with more knowledge and experience than I have will comment on your question and thereby enhance my level of understanding. Charlie Brashear

Hi Rusty - search the web for "summary of echizen kinai" for additional info. I think what you find will prove to be both fascinating and informative (and help understand the reference to "Takahashi of Echizen" you mentioned in your initial post). No guess on the flower/plant depicted. Thank you for sharing the pics - very pleasing tsuba! Charlie Brashear

Hope it's not too late to chime in. As a newbie I found the SF show extremely valuable. It was a wonderful first experience. I found those in attendance to be very generous with their time and knowledge when I simply explained that I was completely new to this hobby. This show was the perfect way for me to gain some wonderful information and meet several people who have continued to assist in my quest for knowledge in this arena. Let me encourage all who still categorize themselves as newbies (like me) to set aside a small amount of $ each day as previously suggested and make the trip to the next show you can attend. Like the commercial says, the experience will be "priceless". Thanks to all of you who made it possible. Charlie B.

The characters seem to be traditional but are difficult to make sense of as Rich pointed out. I am very new at this so I may be missing something that is obvious to the more exeprienced on the board. I am wondering if it is possible for this arrangement of kanji, taken together, has a different or colloquial meaning from that of the individual characters? Also, is yasuri wrong Kiri in the shinogi on one side and katte on the other? Or am I missing something here as well? Charlie

I am a newbie also and was wondering why my wakizashi did not quite seem to fit the koshirae - somewhat loose fitting, missing one seppa, tsuka seemed modified to fit, etc. While the various pieces in and of themselves are interesting to me (pics already posted elsewhere on this board), I suspect that they were "assembled". In my case, and I suspect this is the norm, the whole is clearly less than the sum of the parts when the parts were not made for each other. Nonetheless, we (newbies) can enjoy those component pieces and learn from them. Charlie

Hi Thomas - Is it possible to get clearer pics, including close up of both sides of the tsuba, nakago, kissaki, hamon, etc? I am also a newbie and love following others in their quest for information about their blades and koshirae. Also, I am curious as to what leads you to believe this blade is from the time of the Satsuma Rebellion? Charlie

Hi Neil - any chance you can also add clear pics of the tsuka, menuki and f&k? Thanks, Charlie

Thank you Moriyama-san! On closer inspection I have to agree. lMaybe I need new glasses Charlie

After a bit of research and pure luck, I have been able to determine the figure depicted on the metal cover of this tuska is Ebisu, one of the 7 gods of good fortune - shichifukujin - and the only one to have originated in Japan (not quite sure how gods originate ) Just another bit of interesting (I hope) info for the board. Charlie

Hi Bob - from one nihonto "newbie" to another - it is a slippery slope you have embarked upon! Welcome! I am certain you will find the members of this board extremely helpful as you lurk and learn. Charlie

Hi all - I am a novice who is trying to learn how to read mei. I struggled mightily with the province and came up with Izumi by default. Was the first part of 和泉 obliterated by the mekugi-ana? Or is there something else I missed? Thanks in advance your response(s). It will help me (and other newbies?) grow in reading mei. Regards, Charlie

Glad to be of some assistance - I've received so much help from others on this board. I omitted the reference to "ritual instruments" that preceded the reference to "weapons". Maybe your Showa period piece was dedicated to a temple - hence the vajra. Perhpas this will help you further in filling in the gaps. Please accept my apologies for the omission - I got too narrowly focused. Charlie

Hi Steve - Ditto with the "amen and ten"! I found a reference and you seem to be on the right track. It is probably a form of the Tibetan Buddhism symbol for vajra. According to Robert Beér (page 234 of his “The encyclopedia of Tibetan symbols and motifs”) it is a depiction of a thunderbolt in the form of a club with 3 or 5 prongs at one end. Seems to fit this kokuin. According to this source, the 5 pointed vajra is the “crowning symbol” on many weapons and represents the “indistinguishable nature of the five Buddha wisdoms”. Maybe one of our Buddhist friends will confirm or correct. Charlie

Thanks to all who are instrumental in creating and maintaining this board and those contribute. As a novice I consider myself fortunate to have this tremendous resource. Without it I would have been lost as I began my research into this fascinating world. Charlie

Hi all - I am Charlie from Los Angeles. I have had the good fortune to find this board and get great advise on my meager collection. I am 60 and just recently became interested in nihonto. My journey began with an inherited a wak with shirasaya and a few other related pieces about 15 years ago but just put them aside in the silk bag they were in and forgot about them. Recently, after watching a NOVA show on nihonto I found them again and became fascinated in the stories behind nihonto in general and these pieces in particular. I fear I have become addicted - doing research, buying books, going to shows, etc. I truly appreciate all the kind assistance and information I have received on this board. Charlie

Jacob - Congratulatons! Glad it was just dust! First blades are a great entry to the wonderful (and overwhelming) world of nihonto. It drives us to learn sooo much and while we expand our knowledge we become addicted and want to learn even more. I hope you enjoy this blade and learn a great deal from owning it. Charlie

Hi George - thanks for the input on both the ato bori and on Hawley's dating. I am a novice and just beginning to learn many of the "basics". Based on your comments I will carefully examine the blade to see if the carvings were used to try to hide any imperfections. Attached are pics of the horimono and bonji. I am still trying to take good pics of the blade but without any luck. Charlie

Hi all - I'm seeking input on how common it is to find horimono and bonji that is ato bori. I have a wak (inherited) where it appears this may be the case. The mei of the simth is 利英 - I think Hawley's TOS22 - but, the horimon and bonji were carved by Nobukuni Minamoto (no) Yoshinao in November 1798 - post dating this smith. Any input on this subject may help in my process of identification of the smith. Thanks in advance for the assistance. Charlie