Jon MB

I prefer to be discreet with regard to price, but it was affordable. Thank you for all these helpful and encouraging comments.

As David Flynn said today, on another thread, 'Never say never with Japanese swords'.

Not to answer for him, but I think Chris is unhappy with the lack of references for this piece in his literature, and maybe the anchor mark.

Books are in storage. I winged it with the purchase, but cannot contribute hard facts. I did recall seeing something similar in Fuller and Gregory, thus I went for it. Thanks for the useful intel so far!

Hello All, Hope you are all having a great day. Here we have..I think...a Japanese Naval Sabre....from the 1870's (?) I await your erudite remarks. Overall length: 78 cm (30.7") Blade Length: 65.5 cm (25.7") Horn grips. Wire wrap presumably missing. Blade looks shortened, but period done. Maybe post-capture, for fitting in duffel-bag, or the original Naval owner wanted something short and convenient. Scabbard leather bulges slightly at point where meets the chape. I have not encountered this type before. Sold as 'French'. Notice the markings at base of blade, somewhat un-french. Jon MB

PM

The scabbard looks modern. The scabbard chape looks to have been replaced. Notice wood fragments on blade. Generally sus looking, to me.

One idea in all this might be to decide what interests you aesthetically in terms of Nihonto, and then broaden your knowledge accordingly, as you read up on the pieces that appeal to you visually. Then choose a piece that you consider affordable, for sale either from a respected dealer or someone you trust. Some years ago Darcy was kind enough to point me towards a Shibata Ka piece on Aoi. That was a double win: Some friendly advice from a knowledgeable source and a purchase from a friendly, well known seller. Of course if you have a made any buying mistakes, just think in the long run you will be an old timer, advising neophytes: "We have all got burnt at some point, buy books before you buy swords"(!) Great forum

I notice that in this period Yasutake was using a sotobo-gata (pointed end of nakago) in the same style as his teacher Yasumitsu had used. Thanks very much for your comments, much appreciated. :D Jon MB

Notice the grip of each ken in the pictures is made up of a vajra, or thunderbolt. Short ken with these grips are still sometimes used in demon subduing rituals in Mongolia and Tibet. Ritual bells with vajra handles are very common in temples there too. Here is a short article about vajra in Japan, Kongo Vajra. http://www.kyohaku.go.jp/eng/dictio/kinkou/mikkyo.html

Hi Ken, isn't the the ken a symbol, more than a combat tool, horimono or no horimono? Since tanto make good gifts and are sometimes considered to be amulets of sorts, what better than a tanto with a shape associated with religious tradition.... Others will have more information on this I'm sure Jon MB

" Dainichi Buddha (Sanskrit = Vairocana or Maha Vairocana) represents the center (zenith) among Japan's esoteric sects. Esoteric Buddhism (Jp. = Mikkyō 密教) is another term for Vajrayana (Tantric) Buddhism, one of the three main schools of Buddhism in Asia, most widely practiced today in Tibet. The other two forms are Theravada and Mahayana Buddhism. Mahayana is the mainstream in Japan, but the country's Shingon and Tendai sects are still strongholds of esoteric traditions, especially the Shingon sect." "Fudō Myō-ō is the central deity in all Myō-ō groupings, and in artwork is positioned in the center. Fudō is a personification of Dainichi Nyorai, and the best known of the Myō-ō, who are venerated especially by the Shingon sect of Japanese Esoteric Buddhism (Mikkyō 密教). Fudō converts anger into salvation; has furious, glaring face, as Fudō seeks to frighten people into accepting the teachings of Dainichi Buddha; carries “kurikara” or devil-subduing sword in right hand (representing wisdom cutting through ignorance); holds rope in left hand (to catch and bind up demons); often has third eye in forehead (all-seeing); often seated or standing on rock (because Fudō is “immovable” in his faith). Fudō is also worshipped as a deity who can bring monetary fortune." Jon MB

Doesn't it represent the sword that cuts through ignorance? For example see link describing Fudo Myo-o, http://www.onmarkproductions.com/html/fudo.html Jon MB

I see comparatively few 1960's-made pieces for sale on the internet..... Could one describe this piece as conforming to the trends in Nihonto making in that decade? And could one describe this sword as being representative of post-war work by Yasukuni tosho? Also, was the supply of tamahagane beginning to run out for some smiths in this period, or did that only become a problem a few years later? So many questions, and maybe not the right ones, but all info appreciated.

Ok, thanks for that info Chris. Are there any preferences regarding auspicious months or years for forging that you have encountered?

look forward to the pics!

Yes, Something good happened in 1966..! :D I guess this is nor necessarily the most gripping post to most readers... So thanks for the comments guys! About dates: 1966= Showa 41. Less popular in Japan, I assume, as 4 is not an auspicious number there. I wonder if it hurt sword sales in certain years, with customers not wanting dates like Showa 42 or 49 on the nakago of their precious new swords? No tetra-phobia please! Jon MB

Hello All, Got this piece from Aoi Art, an easy and smooth transaction, which I appreciate. I am working overseas at the moment, so haven't had it in hand, but it has been sent home without mis-hap: One of those situations where one feels the urge to check the online tracking twice a day! I was looking for a post-war piece by Yasutake or Yasuaki, and I went for this. For some reason I am less attracted to Yasuoki's work, which one sees for sale from time to time. These pics are from the Aoi website, as I haven't taken my own yet, any comments appreciated. (If you have anything critical to say, please be gentle!) Nagasa: 76cm Personally, I love the sugata and the hamon, I leave any nie/nio comments (and more) to you experts, or a least those who know more than I, i.e. most of you Many Thanks, Jon MB

Pics kindly sent by Hayabusa. I will buy this great looking book! (Jim Dawson's) Hayabusa, maybe you are right. I am reluctant to agree, but I have no counter evidence at present ! Your theory of course is perfectly logical. I still point out the variations in patterns over time, as demonstrated by the red rayskin grip on the saber in the first illustration, (although this is of course not quite the same, as that could simply have been a 'luxury' option upon purchase). Many thanks! Jon MB

Very interesting document. Thanks Harry! Jon MB

Hayabusa, thanks for the comment. Could you cite some evidence supporting the idea that the scabbard is not original? The fit is good and the wear to the gilt is the same on both sword and scabbard. I seem to recall other similar pieces, for example Japanese colonial swords from Korea, having the same scabbard type as this. And, as you know, there are sometime variations over time with these things. Thanks, Jon M

This wonderful forum is a fount of knowledge! Thanks going out to Thomas! Very useful info. Here is a Wikipedia link for a quick background check on the Japanese mandate in the South Pacific. One of the early bricks in the Japanese Empire. http://en.wikipedia.org/wiki/South_Pacific_Mandate I posted using my old user name, thanks to Brian for helping me out in getting my old user name back. Jonathan B

Oshigata

George and Ray, Thanks for your imput, appreciated.. Here is another pic

Another pic