Al_KRK

Thanks! This is exactly what I want to write about, and also to present this destruct tanto somewhat provocatively. The difference in understanding the approach to authenticity.

I never wrote that the Japanese have no respect for historical artifacts! This blade came to me from Japan damaged, including by the use of improper tools. The bottom photograph has been color-adjusted to create a suitable plate for heliogravure. The tang was also specially positioned and lit to better capture the details.

That's not what I meant. I'm asking if there are legally described rules for sword conservation. I need this for a theoretical paper. As for the practical side, I don't have any plans to give this blade to a polisher yet (in Poland, you can find good, experienced ones who previously practiced in Japan). I'm looking for documents and best practices. That's all.

I had no idea before that the signature on the damaged blade I bought could have any value other than historical (time of creation). A few weeks ago, I came across a post by Paul Martin and saw a beautiful sword signed by... Sa. It made me wonder, but who would get rid of a tanto from such a renowned swordsmith just like that? The tanto has its document, however, it certainly won't be considered a high-quality sword. The seller pointed out that it has Hakabore. I've already written to Mr. Martin, but not about the signature, only to ask for help in finding conservation rules. Maybe it's worth sending him some pictures, I'll see Thank you for pointing out the mei, but I'm not getting my hopes up that my tanto was forged by MASAMUNE JUTETSU, although it would be good to have his blade even in this condition and with hakabore.

The blade was cleaned with strict adherence to all principles by my friendly conservator. He described in detail the technique he used, and he did not use any chemicals that could interfere with the steel (the middle pictures show the condition of the steel before cleaning under a microscope). After cleaning, he protected it with clove oil. The blade will soon receive a new shirasaya. I'm not thinking about polishing this blade right now. For my work, I want to prepare two mountings for it and describe the differences in conservation principles in Europe and Japan. When I manage to find out something about the blade's origin, I will decide what to do with it next. Again, I specifically bought this damaged piece to write a paper. I have several other blades in much better condition

Thanks a lot, Didier!

Get yourself a third leg; you could become the emblem of Sicily, for example. But seriously, I'm looking for specific documents, not weak remarks about a blade you haven't seen.

Before cleaning or after cleaning? :)

? Are you a god, or do you have superpowers and can see through walls?

Thanks

Thank you for your response. I am very 'familiar' with the import process from Japan, I've tested it myself by importing swords I know the principles of Japanese sword conservation, but I'm looking for documents. I need to use specific entries from documents/legal acts. The European-style renovation of the tanto is solely for the purpose of my postgraduate thesis. Besides, this blade is very damaged; someone even tried to grind it with an angle grinder (o tempora!) in Japan! The system of protecting architectural heritage in Japan is completely different from the European one. In Japan, most structures are often replaced without regard for the so-called originality of specific elements. Different style, different rules, but fortunately, conservators understand each other and respect each other's methods.

Hi Fellows, I'm looking for specific Japanese cultural property protection laws regarding nihonto. I'm writing a postgraduate thesis at the "Academy of Heritage" and want to compare the European and Japanese systems. I specifically purchased a damaged tanto (Muromachi period), which has been cleaned and conserved according to European principles (rust and dirt removal, pitting stabilization). As a practical component, I want to create a shirasaya and koshirae for this blade. I also have to write a theoretical part – I want to compare the approach to the protection of cultural heritage in the form of edged weapons. In the case of the European approach, I have no problem with sources and studies; during the conservation of the tanto, I received a great deal of help from the chief conservator of antique edged weapons at the National Museum in Krakow. However, I am unable to find documents regarding the principles of Japanese antique weapon conservation. The guidelines of the Bunkazai Hogo Hō are rather enigmatic... Can you give me a hand? Regards Rafal