ADVICE FOR NOVICE COLLECTORS

by
Richard George

As a fairly new collector of Japanese swords, I have found that while there is a tremendous
amount of information out there about Japanese swords, very little of it is targeted at those who
are at the "I want one - what do I do now" stage of collecting. This article offers some
suggestions to those just beginning the study and collection of Japanese swords.

The first thing to do is to identify what it is that you want. Are you just looking for something to
"hang on the wall", use for martial arts (iaido, etc.,), or are you interested in the "real thing"? If
you just want a wall/desk/fireplace ornament, perhaps you should first look at some of the many
replica Japanese swords that are currently available. Most of these are far less expensive and
much easier to care for than "real" Japanese swords. If you are looking for a sword for martial
arts, I would advise first talking to your sensei. She or he should be able to give you a list of
properties to look for and/or get you in contact with one of the many manufacturers/resellers of
swords specifically for martial arts. And finally, if you want the "real thing", consider carefully
what you want and how much you are willing to spend for it, in terms of both time and money.
Real Japanese swords can vary in price from a few hundred dollars or less for a beat up gunto
sword (made from bar stock and/or oil quenched) to somewhere in the 6 figure range (or
possibly more) for a great sword (a piece with great historical significance and/or was made by a
great smith and/or has been published in a number of sword books, etc.,). In addition, there are a
great variety characteristics and types of Japanese weapons to choose from.

Should you decide that you wish to pursue getting a "real sword", then the next thing to do
(which I can't stress enough) is to become educated about Japanese Swords - especially before
you spend any money on them. If you are lucky enough to have a sword appreciation group
nearby or can find other collectors local to you, contact them - finding somebody knowledgeable
to talk to about Japanese swords is a great way to learn. Read everything you can find about
Japanese swords - there are a number of good introductory books. If you're lucky, a kindly
collector might let you peruse their copies of these introductory books. If you decide that you
want more than a piece or two, be prepared to spend lots of money on books (you should
probably consider purchasing copies of Nagayama's The Connoisseur's Book of Japanese
Swords, Hawley's Japanese Swordsmiths, Harry Watson's translations of Nihon To Koza, and
Fujishiro's Nihon Toku Jiten sooner than later). A lot of these more "advanced" books actually
aren't that bad an investment in any case - you tend to be able to sell them for at least what you
paid for them, which is something that isn't necessarily true of the swords themselves. Attend
some of the Japanese sword shows if you can so you can look at a number of pieces, make
contact with other collectors and dealers, etc., - just don't buy anything initially - This can be
really hard, but I've found that one collector's observation that "there will always be another
piece" is true. Join one or more of the sword societies (JSS/US, etc.) - they are great sources of
information. There are also several sword related mailing lists - sign up on one or more of these
and "lurk" for a while - you'll learn a lot.

If you have gotten this far and have decided to purchase a "real" Japanese sword, I'd recommend
the following:

1. Study, talk to knowledgeable collectors, attend sword shows, etc., BEFORE you buy anything
in order to get a good idea of what you are looking for (era, type of piece (katana, tachi,
wakizashi, naginata, yari, tsuba, etc.,) activities in a blade that you like, what flaws you are
willing to put up with, how much you want to spend, etc.,). I'm repeating myself here because
this is VERY important.

2. DO NOT BUY SWORDS ON ONLINE AUCTIONS UNTIL YOU KNOW WHAT YOU
ARE DOING! Do this and you'll save yourself from learning the expensive lessons I did. It is
very difficult to determine the true condition of a sword given the poor photographs, incomplete
descriptions, etc., which run rampant there. If you do decide to buy on an online auction, try to
stick to sellers who are either known to you or have a good reputation, offer an inspection period,
etc. Sometimes sword books can be had for a reasonable price, though its been my experience
that as often as not you'll be able to purchase an identical book from a reputable dealer (check
this site for several) for less.

3. Do not buy a "fixer upper" as your first sword. While the thought of finding an "undiscovered
treasure" is definitely seductive, realize that restoration is very expensive, and there are a lot of
pieces out there that simply aren't worth restoring (you can find an equivalent piece that is in
polish for less than the cost of the out of polish piece and the required restoration). There is also
considerable risk, particularly for the beginner, of getting a piece with hidden and/or flaws (kizu)
or a piece that is too badly damaged or "tired" to be restored correctly.

4. Seriously consider purchasing your first piece(s) from a reputable dealer. You'll probably pay
more, but a reputable dealer usually won't steer you too far off course (they have a reputation to
protect (the sword collecting community is very small), and they also tend to like repeat
customers). If you have reason to believe that the asking price is too high, don't be afraid to try
and dicker - you can only pay less, and if it doesn't work out, "there will always be another
sword"...

5. Consider initially only purchasing pieces that are in polish, preferably with "papers" from one
of the major sword conservation organizations (NTHK or NBTHK). An "in polish" piece is good
because 1) you don't have to pay to restore it and 2) the flaws/activities are there for all to see,
which reduces the risk considerably. Note that what is meant by "in polish" can vary
considerably. Having papers from one of the major organizations is important because it affirms
the quality of the piece, the validity of the signature (if the piece is signed) - both of which are
very important, especially for a beginning collector. In addition, it will make the piece much
easier to sell in the future, as the next buyer will have the same guarantee of quality.

6. Think carefully before purchasing an unsigned (mumei) piece or a piece that has a forged (or
possibly forged) signature (gimei). While you can frequently find excellent swords for
reasonable prices that are mumei, they are also harder to sell (which is why you should get the
piece for a good price to begin with). I do not consider myself sufficiently knowledgeable to give
much advice on gimei pieces other than to note that you are "rolling the dice" when you pay for a
piece with the signature of an important smith on it - the risk is greatly reduced if you have an
independent expert or sword organization (notably the NTHK) verify it. While "a good sword is
a good sword" and false signatures can be removed fairly easily (about the same amount of
hassle as sending the piece to Japan for polish), it's often not worth the trouble (you'll end up
spending more total than the piece would be worth) and it therefore might be foolhardy for a
beginner to take on one of these pieces.

7. Age is not necessarily an indicator of quality - while there have been excellent swords made
from the late Heian period to the present, there have also been a great many poor blades
produced over the same period - I've found the saying "a good sword is a good sword" to be a
good thing to remember.

8. This may sound obvious, but be sure to get instruction in the "care and feeding" of your
sword. Careless handling and/or neglect can result in damage that can seriously reduce the
beauty (and value) of a piece.

And finally, should you become a collector, one of the best tidbits of advice I've gotten to date is
to limit the size of my collection to a few pieces - and sell off the stuff you like the least after
you've hit your "limit" and find something new to buy. This will allow you to truly appreciate
each piece rather than having a closet or safe full of stuff to which you're a slave.

JAPANESE SWORD CARE

NOTE: This is not a detailed guide on caring for and maintaining a collection of Japanese
swords nor a guide for the sophisticated collector (they already know how). It is intended for the
individual, who for whatever reason, happens to be in possession of a Japanese sword and who
wishes to know some of the basics of how to care for it. This is not intended to be a complete
guide on caring for Japanese swords. When in doubt, DO NOTHING. Consult with someone
knowledgable in the care and appraisal of Japanese swords.

If you need help in determining whether a specific sword is a genuine antique Japanese sword or
a reproduction, please read Is It Real? - Is It Old?.

THE GOLDEN RULE

Do nothing which may injure you or damage the sword.

Remember that while a sword may be a beautiful work of art, it is primarily a weapon. Handling
a Japanese sword is like handling a three foot long razor blade. Be alert and be careful. Do
NOT test it for sharpness by running your thumb along the edge. Blood stains cause rust which
damages the sword (not to mention what it does to your thumb). The sword is sharp - just
believe it.
 First a few DO NOT'S:

Do not attempt to sharpen the blade. The use of sharpening stones or (heaven forbid) a
grinding wheel can cause the total destruction of the sword from a collectors standpoint. It takes
special training skill and tools to properly polish and sharpen the sword.

Do not use sandpaper, emory paper, steel wool or any abrasive materials on any part of the blade
including the tang (nakago). These will scratch the blade and detract from its beauty.

Do not under any circumstances do ANYTHING to the tang (nakago) of the sword. This is one
of the most critical areas of the sword when it comes to identification. ANY ALTERATION of
the tang - any cleaning, rust removal, anything at all MUST BE AVOIDED. If the tang is
altered, it can make identification nearly impossible and can reduce the value of the sword by
half!!

Do not ever use a power buffing wheel on ANY part of the sword or its fittings. The heat may
cause the blade to lose temper and thus destroy any value the blade may have. Also, buffers
over-shine the blade. The Japanese sword blade was never intended to have a mirror polish.

Do not use silver polish or any metal cleaner which has any type of abrasive in it for the reason
given above.

Do not try to see if the sword will cut things - it will. The Japanese sword was designed to cut
only one thing - FLESH! Cutting hard objects like weeds, scrubs, tree branches, etc will damage
the sword, usually beyond repair.

Do not use ANY type of metal polish on the parts of the sword handle, guard or scabbard. The
fittings on the sword are generally not supposed to be bright and shiny. A different art ethic is at
work here.

Do not handle the blade with bare hands. The oils and acids from your skin can cause the blade
to rust (in some cases it may stain almost immediately). Use a clean cloth around the blade to
handle it, but be careful the blade doesn't slip- it is sharp.

Do not EVER grab for a falling or dropped blade. You can, and probably will lose a finger or
two - or at least get a very nasty laceration. If the blade drops just get out of the way. (This does
not apply to super, high grade blades - I personally would risk a finger or two rather than have a
really fine blade be damaged by hitting a hard floor,etc. But that's MY feeling and MY fingers -
you may not feel the same way. :)

Do not unwrap the handle (tsuka). The stories that prayer papers are inserted in between the ito
(silk cord) and same' (rayskin) are pure fiction. The small papers are simple spacers to aid in
positioning the ito on the handle (tsuka). The process of tsuka-maki (handle wrapping) is quite
complicated. Consult with someone trained in tsuka-maki if you need a handle re-built.

Preventing Rust
Rust is the major enemy of the Japanese sword blade. The best course of action is to
prevent rust rather than to have to remove it. If possible the sword should be kept at
relatively constant temperature and humidity. A thin coat of a light, non-acidic
 lubricating oil is all that is needed. Sword supply shops sell a special oil, CHOJI OIL,
for this use. It protects well and has a nice aroma also. The blade should be re-oiled
occasionally to prevent the old oil from becoming gummy. Wipe the old oil off with a
clean, soft, WHITE cloth or tissue paper. Don't use colored materials as the oil may
cause the color to "bleed" onto the sword and stain it. Gentle wiping action is all that is
required not vigorous rubbing. Don't "soak" the blade with oil, just use a very light
coating. Complete sword care kits are available from several sources listed on the
Japanese sword web site links page.

If you are fortunate enough to own a Japanese sword, care for it. It is one of the finest types of
sword ever made. It is intimately tied in with Japanese culture and history. The sword deserves
respect. The sword you have is probably not a "National Treasure of Japan", but you may be well
amazed at its value. Contact someone honest and knowledgeable of the Japanese sword for
advice and, perhaps, a "ballpark" appraisal.

There are several avenues to get advice on your sword. There are numerous web pages for sword
collectors. See the sword links page. The Japanese Sword Society of the United States
(JSS/US) is the major organization in the U.S.; however, there are numerous similar
organizations in other countries. There is likely a Japanese sword club if you live in a populated
area - ask around, you might be surprised that someone you already know is a student of the
Japanese sword.

And now for a few DO's:

Do care for your sword properly. It is a piece of the history and culture of Japan. Remember the
Golden Rule of sword care above.

Do enjoy your sword. The trained eye can see marvelous workings in the steel and the artistry of
the mounts is remarkable.

Do learn all you can about your sword. It may be possible to actually date the blade as to when
and, sometimes even, who made it.

Do treat the blade with respect, both for its history and its artistry.

Do join a Japanese sword club. There is much to learn and a lot of great people to meet.
 JAPANESE MILITARY SWORDS I

SHIN-GUNTO SWORDS

Shin-gunto, army officers swords, are the most common style of sword mountings from
the World War II era. There is an enormous difference in quality of both blades and
mounts of this period. Many, perhaps most, of the blades found in shin-gunto mounts
are NOT traditionally made swords. Many are machine made and therefore are of
interest only as military relics, not as art swords. Some blades made during the war
period were handmade but not by traditional methods. These are classified as either
Showato, Muratato, Mantetsuto, Hantanzo or Yotetsuto depending on method of
production.

There were swords made during this period that were made using traditional methods;
these are termed Gendaito or Kindaito. Some of the smiths making traditional swords
during the war era are the Yasukuni Shrine smiths, those of the Gassan School,
Chounsai Emura and Ichihara Nagamitsu among many others. Swords with stamps
on their nakago (tangs) were made using non-traditional methods or materials, possible
exceptions being some gendaito which bear star (Jumei Tosho) stamps, although this
too is debated. (Check the list of Gendai swordsmiths for some of the major smiths
making swords by traditional methods during the WW II period.) Some WW II era
sword companies used specific logo on the scabbards and/or koshirae which they made
or sold. These sword company logos do not necessarily indicate that the company
made the sword. Some of these logo are simply of shops that sold swords during the
war. The scabbards (saya) of shin-gunto swords are usually brown painted metal,
although it is not uncommon to find tan, navy blue or black saya. Many will have leather field
covers as well. Antique blades are occasionally encountered in shin-gunto mounts.

Late in the war era, two other styles of shin-gunto mounts were produced. These late 1944 style
swords, sometimes (although incorrectly) called "Marine mounts" have dark brown, rough
textured lacquered wood scabbards; dark brown, lacquered "burlap" ito and iron fixtures with a
stippled finish which are painted black. All manner of blades are found in these mounts, from
machine-made to gendaito.
The other variation of the late 1944 swords has either a light brown or a tan iron scabbard and
light brown or green wrapping (ito) over cloth. Blades found in these mountings are invariably of
low quality and are machine made.

By 1945, there were numerous "desperation" end of war varieties of shin-gunto being produced
both in Japan and in the areas of Japanese occupation. These swords have plain copper, brass or
iron mounts, simple wire tassel loops, low grade brown/tan/green ito, and poorly constructed
black painted wood saya, some with leather scabbard covers. Swords of this type are all of the
poorest quality, made from low grade materials. None have traditionally made blades. They are
swords in form only and of interest only as historical artifacts.

"End of War" Hilts

NCO SHIN-GUNTO

Prior to 1945, NCO shin-gunto, non-commissioned officers swords, have all metal tsukas
(handles) made to resemble the traditionally cloth wrapped shin-gunto swords. The first model
had an unpainted copper hilt. On later models the hilts were made of aluminum and painted to
resemble the lacing (ito) on officer's shin-gunto swords. These swords will have serial numbers
on their blades and are ALL machine made, without exception. The serial numbers are simple
assembly or manufacturing numbers; they are not serial numbers of blades as issued to specific
soldiers. If the sword is all original, the serial numbers on the blade, tsuba, saya and all other
parts should match.
In 1945, the NCO sword was changed to a simple wooden hilt with incised cross-hatching (no
same' or ito) and plain, black painted iron mounts and a light brown to tan metal scabbard.
Blades in these mounts are ALL machine made.

KYU-GUNTO SWORDS
Russo-Japanese Style Mounts

Kyu-gunto swords, also called Russo-Japanese swords, were used by Army, Cavalry and
Naval officers during the Russo-Japanese War and WW II. This style of mounting was used
from 1883 until 1945. Like shin-gunto, a great variety of quality in both blades, traditional and
machine made, and mounts is seen in kyu-gunto swords. Many variations are found in the
scabbards of kyu-gunto swords including chromed metal, lacquered wood or leather covered
wood with brass fixtures. Any style scabbard may have a leather field cover. Those swords with
elongated hilts and mekugi (peg for holding blade into hilt) are more likely to have hand forged
blades, while the swords lacking mekugi generally are machine made and may have chromed
blades.

Different styles of kyu-gunto are often confused. The backstraps of naval kyu-gunto swords
have no side pieces while army kyu-gunto and colonial swords have side pieces with various
emblems on the backstrap.
 COLONIAL OCCUPATION SWORDS

As the Japanese occupied various territories in the 1930's and 1940's, they issued special swords
to the colonial occupation officials. These swords were basically kyu-gunto with slight
modifications. Each colonial region had a different emblem on the backstrap and sides of the
backstrap representing the specific region. Colonial swords generally have machine made,
chrome plated blades with etched hamon; however, a hand-forged blade may be found in
colonial mounts. Saya may be chromed or leather with brass mountings.

KAI-GUNTO

Kai-gunto swords were more commonly used by Japanese Naval officers. They may have
rayskin covered saya which have been lacquered black or dark blue or black lacquered scabbards
without rayskin. Some will have only a single hanger (ashi). The tsuka (handle) has same'
(rayskin) of the same type and black or navy blue ito. The metal mounts are gilted brass. Blades
found in kai-gunto mounts may be machine made, some are stainless steel, while others may be
traditionally made.

Many of the stainless steel (taisabiko or sabinaito) kai-gunto were made at the Tenshozan
Tanrenjo in Zushi near Kamakura in Kanagawa prefecture. These blades were made exclusively
for the Navy and sold through the Tenshozan store. They are signed on the nakago "Tenshozan
Tanrenjo" (see nakago at left) and marked with an anchor stamp. The other main source of
blades for the Navy was the Toyokawa Naval Arsenal. Many of these blades are unsigned except
for an anchor stamp (different from the Tenshozan stamp) either alone or in a circle or sakura
blossom (see common tang stamps above). Stainless steel blades are all considered machine
made. Some maybe oil tempered (?), but on most the hamon is purely cosmetic. The Tenshozan
Tanrenjo also made Naval dirks.

SWORD TASSELS AND KNOTS

Shin-gunto swords are sometimes found with a colored tassel (left) attached
to the kabuto-gane (hilt buttcap). The officer's rank that carried the sword can
be determined from the color of the tassel. Blue/brown tassels were used by
company grade officers (lieutenants and captains), red/brown by field grade
officers (majors and colonels), red/gold tassels for general grade officers.
Tassels can be easily switched from sword to sword and reproduction tassels
can also be added to WW II vintage swords. A new general grade tassel on a
poor quality sword is indicative of a "made-up" story. NCO swords had a leather
sword knot (right). Kyu-gunto swords had a ball type corded knot.

SEE ALSO:

REPRODUCTIONS AND FAKES

There are numerous other styles of Japanese military and civilian swords from the war era;
including diplomatic swords, court swords, cavalry sabers and others. Refer to the excellent
work of Jim Dawson "Swords of Imperial Japan, 1868-1945" or some of Richard Fuller and
Ron Gregory's numerous books on Japanese military swords.
 JAPANESE MILITARY & CIVIL SWORDS

ARMY PARADE AND POLICE OFFICER SABERS

There is often confusion between the army parade saber and the police officer
saber. Both are similar in design and general appearence. They have chromed metal
scabbards, brass D-hilts and wire wrapped grips. The police saber has a five petal
cherry blossom mon whereas the parade saber has a ten petal cherry blossom mon.
Parade sabers will occasionally have a family crest (mon) on the backstrap of the hilt.
All of the blades in these swords are machine made and normally chrome plated.

JAPANESE CAVALRY TROOPER SABERS

Japanese cavalry sabers, introduced in the late 19th Century, have machine made blades with
serial numbers on the ricasso and will commonly have arsenal stamps on the guard. The Type
25, introduced in 1892, have brass hilts and plain wood grips. The hilt back strap on later Type
32 model, introduced in 1899, is checkered steel (commonly blackened). The wood grips are also
checkered. There is a leather finger loop on the inside of the guard. The blades have a long, wide
fuller running the total length of the blade. The scabbards are steel with a single suspension ring.
These are commonly mislabeled as 1886 cavalry sabers. The 1886 model cavalry officers parade
saber was very similar to the kyu-gunto, but have slotted knuckle bows to accommodate a sword
knot.
 POLICE & MOUNTED POLICE SABERS

Police and mounted police sabers were all machine made and have chromed blades. This type
of sword or "hanger" was carried by the low to mid rank police. These blades are commonly
quite short even though the chromed metal scabbard is normal length. The hilt is brass and the
grips are wood with black leather covering and brass wire wrapping. These should be
distinguished from police officer sabers which are similar to Army officer parade sabers but
have a five petal cherry blossom mon. This same basic design was used by a variety of civilian
agencies with different emblems on the backstrap and side panels.

CIVIL OFFICIAL SWORDS

There were numerous civil agency swords. Some have emblems on the back strap to designate a
specific civil agency. These swords are also similar to the Naval Prison Service swords. All are
machine made and have chromed blades. The scabbards may be chrome or nickel plated. Some
of the Naval Prison Service swords will have black leather scabbards with metal fittings.
 ARTILLERY SWORDS
BRASS HILT VARIATION

These swords were issued to artillerymen and artillery gunners. The blades are approximately
20 inches (53 cm) in length and quite broad. They have a single wide fuller on one side but are
un-fullered on the reverse. Early models have a brass hilt which is ribbed on one side and plain
on the reverse. Late in the war, some were made with wood grips mounted with brass or iron
guards and pommels. The black leather scabbards may be brass or iron mounted. The swords
were all machine made and will commonly have ordinance stamps on the cross guard.

ARTILLERY SWORD
WOOD GRIP VARIATION

ARMY "COURT" AND DIPLOMATIC CORPS SWORDS

These swords bear striking resemblance to some western fraternal organization swords. They
were worn by high ranking army officers for full dress events. The basic army design is the same
as the Japanese diplomatic sword. The Army court swords have a dragonfly on the pommel.
Some styles have a sunburst on the clam shell guard, others have a paulonia mon or the
Imperial kiku (chrysanthemum) mon on the clam shell guard. They were issued only to field
grade and general grade officers. The diplomatic swords were for consular grade diplomates. The
blades are narrow, straight, double edged with floral engraving. The hilt and scabbard fittings are
gilded brass. The scabbards are black polished leather with gilded brass throat and toe mounts.
There are several variations in both the Army swords and the diplomatic swords.
 IS IT REAL? - IS IT OLD?
A General Guide For The Non-Collector

NOTE: The following suggestions for determining whether a Japanese sword is old or new
(WW II era or later) are only general guides. No single indicator alone will determine whether a
sword blade is an antique or of recent vintage. The blade must be examined in its entirety and not
judged solely on a single criteria. Do not undertake to dis-assemble a sword unless you know
what you are doing. You may severely injure yourself and/or damage the sword. For definitions
of terms, check the visual glossary page.

The first question to be answered - is it a real sword or a modern replica or an iaito (iai
practice sword)? Many modern replicas and iaito have aluminum blades. When in doubt,
check the blade with a magnet. Steel is magnetic - aluminum is not. If the blade is aluminum, the
sword is not a "real" sword and certainly not an antique. However, just because the blade is steel
does not mean it is a genuine Japanese sword as many modern replicas are made with steel
blades. There are also numerous reproduction and fake Japanese swords on the market. Also
many Chinese military swords are confused with Japanese swords. Be sure to read
Reproductions and Fakes.

"Ninja swords" are a Hollywood fiction. There is no historical documentation that ninja
used swords which were of a special design or differed from those used by other Japanese of the
period. Any so called "ninja sword" is pure fantasy.

Is there visible grain (hada) in the steel of the blade? Most handmade Japanese swords will
have a visible grain in the steel of the blade. This is due to the method of forging the blade using
multiple folds,etc. Grain (hada) is sometimes difficult for beginners to recognize. There are old
sword blades which have no visible grain (muji hada); however, the presence of grain does most
certainly mean the blade is handmade. Grain does not determine age. Many of the better WW II
era swords will show prominent grain (hada).

Does the blade show a true temper line (hamon)? Replica swords and many WW II era
machine made swords have an etched temper line, not a true temper line (hamon) made by
differential tempering of the blade. Examine the hamon with a magnifying glass. A real hamon
will show tiny dots/specks (nioi and/or nie) along and between the border of the hamon and the
rest of the blade. An etched temper line will be seen as a smooth cloud lacking any internal
features.

If there are serial numbers stamped in the blade, it is a machine made blade - most likely a
WW II NCO sword. These are all machine made and are not classified as "Nihonto". Check the
military sword page for examples of WW II era swords.
 Is the blade sharpened all the way to the base where it joins the hilt? Most WW II era blades
are not sharpened all the down to the habaki (collar). Some older (Shinshinto) swords may
likewise not be sharpened down to the habaki; however, most WW II swords were not. If the
blade is not sharp all the way to the habaki does not assure it is a WW II era blade, but is a good
first indicator.

If the peg (mekugi) or screw holding the handle (tsuka) onto the blade can be removed and
the handle safely removed (use care not to damage the handle or blade - the complete handle
should slide off the end of the tang), examination of the tang (nakago) can tell much about the
age of the blade. (NOTE: Some swords may have two mekugi - one near the guard and the other
near the end of the hilt. Always check. Never use force to remove the handle.) Newer swords
will have a grey, metallic tang perhaps with a little red rust. (Do not remove the rust). Older
swords will have more rusted tangs, ranging from brown to smooth deep black rust for the oldest
swords. On newer swords the file marks on the tang will be sharp and crisp. As the tang rusts and
ages, these become progressively smoother and less distinct.

NEVER CLEAN THE TANG OF A JAPANESE SWORD OR TAMPER WITH IT IN

ANY WAY!!! - it will reduce its value by at least 50 percent!! The type and color of the rust is
used to help date and to authenticate the blade.

Is the tang (nakago) signed? Many people tend to believe that if a sword is signed, that it
must be hand made. That is not true. During the WW II era, many machine made blades were
signed simply as a way of giving more prestige to the sword even though it was machine made.
The reverse is also not true - if a sword is not signed does not mean it is machine made. Many,
many antique blades were left unsigned or have had their signatures (mei) lost over time.
Whether a blade is signed or not has little to do with determining if it is handmade or the age of
the blade.

If there is a tang stamp (see the military sword page for examples) on the nakago, up close
to the blade collar (habaki), it is a WW II era sword - these are arsenal stamps. Arsenal stamps
do not appear on pre-1930's blades.

There are stories that the small papers between the handle wrap (ito) and the rayskin (same')
are prayer papers to protect the soldier in battle. This is pure fiction. These are simply paper
spacers to aid in positioning the wrapping properly on the handle. DO NOT UNWRAP THE
HANDLE! The process of tsuka-maki (handle wrapping) is quite complicated. You cannot re-
wrap the hilt with the silk cord that was removed. It will have shrunk and is likely frayed and
worn. Consult someone who is trained in tsuka-maki if you need to have a handle re-built.

Sword canes (Shikomi-zue) mostly have very low grade blades. Most sword canes were
produced in the late 19th Century - early 20th Century. The blades are very straight and thin and
often have significant flaws. The scabbards and hilts are usually designed to resemble bamboo or
old wood sticks. Rarely is a high quality blade found in sword cane mounts; however, some of
the mounts can be interesting with hidden, spring loaded, pop out guards.
 How the sword is mounted has nothing to do with its age or authenticity. Modern replicas
may look like antique swords; be it a tachi, katana, wakizashi or tanto. WW II military type
swords are also being reproduced today. WW II era swords have been put into shirasaya or
remounted in samurai type mounts by collectors. Vice versa, antique blades are occassionally
found in WW II military mounts.

There are numerous varieties of items made in the 20th Century as tourist momentos that are
commonly thought to be some special type of Japanese sword. These take that shape of various
dragon figures, Japanese peasants, fish etc. - all carved and painted wood figures. The blades in
these items are all "soft steel" and have etched temperlines (hamon). Many will have some type
of engraving, usually floral, on the blade. These items are of no interest to Japanese sword
collectors. Bone tanto and swords (see below) fall into this group.

Carved bone and carved ivory sword mountings almost always have untempered, soft steel
blades. These were made as tourist items from the 1870's through the 1930's. These items are
purchased for the quality of the carving only. The great majority of these swords are made of
carved bone, not ivory. Ivory has a distinctive grain. If you cannot see this grain or do not know
what to look for, assume it is carved bone, not ivory.

Swords with carved bone handles and scabbards are of no interest to Nihonto collectors other
than perhaps as an example of how poorly made a blade can be. They are referred to as "hocho
tetsu" (kitchen steel) - a most derogatory term in sword circles. Swords of this type were made in
all sizes, from tanto to katana or tachi. Some of these bone swords will have very low grade
metal mountings, commonly with the Tokugawa mon incised into or embossed on the
mountings.

The above items are only a general guide. When ANY doubt exists as to the authenticity or age
of a Japanese sword, seek advice from a reputable collector. There are numerous sword clubs in
many cities. Contact one of them for assistance.
 JAPANESE MILITARY DIRKS

NAVAL OFFICERS DIRKS

Naval Officers dirks were first issued in the 1880's. The same basic pattern was used with
minor variations for numerous civilian officials. Most were machine made with chrome plated
blades. They have white ray skin handles with wire wrap and brass mounts. Variations in the
engraving and emblems on the mounts distinquish Naval dirks from the civilian dirks. Very
rarely a naval dirk may be encountered with a hand forged blade. These were special order items
using the owners or a special order blade and custom built mountings. Some of these dirks were
made by the Tenshozan Tanrenjo and are so signed on the nakago.

OFFICERS AND KAMIKAZE DIRKS

Officers dirks were private purchase or gift items during the WW II era. Rarely were they
issued to Army or Navy officers; the exception being kamikaze dirks which were sometimes
presented by the commanding officer to his pilots of the "Shimpu Tokubetsu Kogetai" (Divine
Wind Special Attack Force). These dirks are generally not well made although do appear to be
hand forged and do exhibit a true hamon (temperline) in most cases. The nakago is uncommonly
short and rarely signed. The blades average approximately six to seven inches in length. The
mounts are normally plain shirasaya although the kamikaze dirks may have ivory fuchi and
koiguchi and dark lacquered saya. The kamikaze dirks will usually have a lanyard hole in the
tsuka. Both officers dirks and kamikaze dirks normally had leather field covers and cloth carry
bags. Officers dirks, complete with their leather covers and cloth carry bags are getting to be rare
while true kamikaze dirks are quite rare.

OFFICERS DIRK IN LEATHER FIELD COVER

 NAVAL NCO DIRKS

Dress dirks were also carried by Japanese Navy Senior Petty Officers. They have plain brass
mountings and a dark brown or black leather scabbard. The blades were machine made,
approximately 10 inches in length, and chrome plated with a fuller running one half the length of
the blade. Naval bandsman also carried a similar dirk which had a curved, unfullered blade.

CIVIL FORESTRY OFFICIALS DIRKS

Civil forestry officials were authorized to wear dirks from about 1903 until the end of WW II in
1945. There were two models, both in a junior and senior grade pattern. The junior grade
officials pattern had silver plated mounts while the senior officials pattern had gilded brass
mounts. Both may have the cherry blossom (sakura) design on the hilt and/or scabbard fittings.
The hilt was covered with rayskin (same') and the scabbard was covered in black leather. Both
grades had plated, machine made blades although hand forged blades have been found in this
style mounts. Forestry officials dirks are relatively rare today.

NATIONAL RAILROAD OFFICIALS DIRKS

In 1909 the Japanese National Railroad instituted dirks for its officials. These are similar in
design to the Naval Officer's dirks, but have wire wrapped, dark rayskin (same') covered handles.
The emblem on the handle is the Kiri mon and the kashira (top cap) has a wheel motif. The
mounts are gilt brass. The scabbard is black leather. All railroad dirk blades are machine made
and chrome plated with a fuller running the length of the blade. Other civil official's dirks were
quite similar but with different emblems denoting the agency or organization.
 JAPANESE SWORD FAQ
Frequently Asked Questions about Japanese Swords

Q : I have an old sword. I think it is Japanese. Can you tell me about it and what it's worth?
A : Probably not without a lot of information and detailed pictures of the sword and tang with
any signatures, etc. What style of sword? Katana, wakizashi, tanto, tachi? What kind of mounts?
Buke-zukuri, shingunto, etc? What condition is it in? Any rust or chips or blade flaws? Without
detailed information, it is impossible to determine anything about a sword; even then, it is
difficult to give specific information without actually seeing and handling the sword. It is
impossible to determine value without knowing a lot of information about the sword; its
condition (all important); who made it and when, etc. If at all possible it is better to have the
sword examined by persons knowledgeable of Japanese swords. There are numerous local
Japanese sword clubs where knowledgeable people can perhaps help you determine the value of
your sword. Also there are sword shows around the country at various times where you could
take your sword to have it examined. Online help, such as this website and various message
boards, can be a beginning; but for a proper appraisal the sword needs to examined in-hand.

Q : I want to collect Japanese swords. How do I get started?

A : Richard George has written a fine article giving advice for novice collectors. First read lots
of books, go to sword shows and join a sword club. DO NOT buy a sword until you know
something about them. DO NOT buy from online auction sites. Most of those sold via this
method are modern fakes! Review the sword websites so at least you will have some idea what
an authentic Japanese sword looks like.

Q : I have seen swords claiming to be WW II era Japanese swords made by Chinese sword
makers. They are claimed to be prison guard swords, swords for Chinese officials during the
Japanese occupation and other claims. They have acid etched panels with various Kanji writings
or flags on the blade or saya. What are these?
A : From all that has been determined, these are modern Chinese made swords having
NOTHING to do with Japanese swords of WW II or any era. They appeared on the market a few
years ago, not having been seen previously. IMHO, they are simply modern made swords, aged
to look old, designed to separate people from their money. They have no historical evidence to
support that these swords were ever produced during the WW II period or have any actual
connection to Japanese swords of the period. They are not even "reproductions"; at best they are
fantasy swords. See the Reproductions and Fakes page for example.

Q : How do I remove the handle on my sword to see if it is signed?

A : Read the NBTHK sword care page. It gives instructions on removing the handle (tsuka). Be
aware that some World War II era swords have two pegs or possibly screws - one near the guard
and the other near the end of the handle. Both must be removed. NEVER UNWRAP THE
HANDLE. This is not necessary for dis-assembly of the sword. Also, NEVER CLEAN THE
TANG. To do so may reduce the value of the sword by half. The type and coloration of the rust
on the tang is essential in determining its age and therefore its value. Also see the military
swords page and look at the kai-gunto pictures. They depict both the assembled and fully dis-
assembled sword, showing how all the parts fit together. Most Japanese swords are assembled in
a similar fashion.

Q : How do I translate the writing (signature or mei) on the tang of my sword?

A : Check the basic guides for translating signatures.
Q : I have a sword captured during WW II, how can I return it to its previous owner's family in
Japan?
A : Unless you already know the Japanese soldier's family and their address, you probably can't.
There are no significant records on who owned what sword during WW II, except for those
possessed by shrines, the Emperor, etc. and they have already been accounted for. Also, most
WW II period made swords, especially those with arsenal tang stamps (see military swords), can
not be returned to Japan as the Japanese government considers them weapons and it is illegal for
individuals to import weapons into Japan. Only those swords that are fully traditionally made can
be imported back into Japan. It is best to learn about the sword and how to care for it so it can be
preserved for future generations. The few, rare cases where swords have been returned to their
previous Japanese owners are for those swords given as tokens of respect to US soldiers and
occupation officials during the US occupation of Japan in the late 1940's and early 1950's.

Q : I want to buy an antique Japanese sword. Where can I find them online?
A : For antique swords, check the sword links page and go to the commercial sites section. There
are numerous sword dealers online offering antique swords in a variety of price ranges. Unless
you are very familiar with antique Japanese swords, DO NOT buy them from online auction
sites. I estimate that 90+% of those sold on online auction sites are modern fakes! See
reproductions and fakes. For swords for martial arts practice go to the martial arts page and look
under commercial sites.

Q : I have a sword and want to sell it. How do I find a buyer who will give me a fair price?
A : There are numerous local Japanese sword clubs where knowledgable people can perhaps
help you determine the value of your sword. Also there are sword shows around the country at
various times where you could take your sword to have it examined. I would suggest getting
several quotes before you decide to sell. Various collectors are looking for different
types/period/makers and may give widely different prices. There are also numerous online
dealers who buy swords on the sword links page

Q : How do I tell if my sword is a real Japanese sword?

A : Check the Is It Real, Is It Old page for things to look for to determine whether your sword is
a real Japanese sword or a modern replica/reproduction. Also read the reproductions and fakes
page for clues on what to look for in fake swords.

Q : How do I tell if my WW II period sword is traditionally made or a machine made sword?

A : This is a really tough question. See the Gendaito vs Showato page for hints on determining
whether your sword is a real antique and/or traditionally made. Also check the military swords
pages for styles of Japanese swords used during the WW II period. Certain types were only
machine made while others could be machine made, non-traditionally made or completely
traditionally made.

Q : How do I sharpen my Japanese sword?

A : You don't ! (unless you want to ruin your sword). Sharpening and polishing are one and the
same process for Japanese swords. Improper polishing can ruin the artistic and monetary value of
a sword; it is best left to professionals. Please read the sword care and NBTHK care manual
pages for advice on the proper care of a Japanese sword. Check the sword links page and look
for sites offering sword restoration services by trained and qualified persons.

Q : Are Japanese swords still being made like the old ones?
A : Yes, modern Japanese sword smiths still make swords by traditional methods. They are
referred to as "shinsakuto" (modern made swords). Check the links page and look for sites about
or selling "shinsakuto".

Q : Where can I get a ninja sword?

A : Ninja swords are Hollywood fictions. There is no historical evidence that ninja used swords
any different from those used by samurai or anyone else.

Q : Where can I find a "sakaba or sakabatou" - a katana with the cutting edge on the inside
curvature?
A : You can't - cartoon swords are for cartoon characters. Blades similar (called kubikiri) were
made in tanto and small wakizashi size, but I've never heard of one in katana length. The entire
premise that a concave blade is not an offensive or lethal weapon is wrong. Many styles of
knives and swords have concave edges. I point to the Nepalese Gurkha and Turkish Yatagan as
two of many such weapons. I suspect "sakaba" are purely the product of the cartoon world. A
kubikiri tanto is pictured on the unusual tanto webpage of this site.

Q : Should I use an antique sword for martial arts practice?

A : Generally no, they are too valuable and you risk destroying important artistic and historical
swords by using them. Some WW II era swords may be suitable to be remounted for use in
martial arts. However, they need to be properly remounted by someone who knows what they are
doing. Otherwise the blade may come loose and go flying across the room when in use - not a
good thing. I recommend the use of a sword designed and made for martial arts. See the martial
arts links page for dealers in swords for martial arts.

Q : Where can I find information on a specific sword smith?

A : There are numerous reference books that give details (when known) of specific sword
smiths. Hawley's Japanese Swordsmiths, Revised is possibly the most used English language
source for dates and locations. The Nihonto Koza series, translated by Harry Watson, is an
invaluable resource with detailed information of numerous schools of sword smiths and specific
smiths. There are also several indexes on this site for Showa era sword smiths who made swords
in the traditional manner (gendaito indexes). Most of the best material is available only in
Japanese. You can also post a message to one of the online message boards requesting
information.

Q : How do I tie the scabbard (saya) cord (sageo)?

A : Check how to wrap sageo page.

Q : How do I re-wrap the handle (tsuka) of my sword?

A : Check the sword links page for sites on the styles and techniques of tsuka maki.
(NOTE: for quality antique swords, this should be done by a professional.)
 GENDAI SWORDSMITHS
AND OTHER SWORDSMITH INDEXES

There were hundreds, perhaps thousands, of swordsmiths working from 1868 until 1945. The
great majority worked during the 1930's and 1940's. Swords made during the WW II era
encompass all types from totally machine made to those made in completely traditional Nihonto
manner. It is sometimes quite difficult for beginners to distinquish between swords made from
bar stock and oil tempered, and those made by traditional methods (gendaito, kindaito).

SWORDSMITH INDEXES

Rikugun Jumei Tosho are those swordsmiths approved by the Japanese Army to produce
swords for military officers. This index is divided into two parts; known swords with star stamps
on the nakago and a listing of Jumei Tosho smiths from literature sources. Chris Bowen has
done extensive research on gendai (kindai) smiths from the Tokyo region who worked during the
WW II era. He has published a list of these swordsmiths as a prelude to his book on the same
subject. With his kind permission, the Tokyo Kindai Tosho Index is available here. Part of the
index contains a list of the members of the Nihon To Tanren Kai; those smiths that worked at
the Yasukuni Shrine. The index lists both Romanji (English) names and Kanji of swordsmiths;
however, to read the Kanji a Japanese character converter such as NJWin or a Japanese word
processor is needed. All the smiths in Bowen's Index made swords in the traditional manner
(gendaito, kindaito).

Three other indexes of swordsmiths, the Gendai Toko Meikan, the Gendaito Meisaku Zukan
and the Toko Taikan have been translated and compiled by Tony Thomas. They are available
here with his permission. I have abstracted the Toko Taikan index for all listed gendai
swordsmiths. All indexes give the Romanji (English) names of a large number of gendai smiths,
but do not include name Kanji. Lacking the proper Kanji makes using these indexes speculative
for identifying a specific smith as there are commonly several Kanji which can correspond to a
given Romanji (English) translation. The complete Toko Taikan Index includes koto, shinto and
shinshinto as well as gendai swordsmiths. The complete Toko Taikan Index is too large to post
in text format. It is available only in ZIP format. The NTT/NTS Showa List, courtesy of Kenji
Mishina, is a list of Showa era swordsmiths published in 1943 by the Nihon Token Tanren-jo
and Nihon Token Shinbun-shi using the ranking system then in use for ranking sumo wrestlers.
The Koto Taikan Index also lists swordsmiths of all eras was prepared by Clive Sinclaire and
is likewise used here with his permission. Due to its size, the Koto Taikan Index is available only
in ZIP format. The Nihonto Newsletter Index, prepared by Ron Hartmann, is for the five
volume set of compiled newsletters authored by Albert Yamanaka and published by the JSSUS.
Alan Bale has done an index to Token Bijutsu, the NBTHK Journal.
Use the search in page or find in page functions of your browser to quickly determine if a
specific swordsmith is listed in one of these indexes once you have loaded the index page. Use
the Search Engine to search this entire site for a specific swordsmith or other topic or term.

SWORDSMITH INDEXES

Rikugun Jumei Tosho

Tokyo Kindai Tosho

Gendai Toko Meikan Index

Gendaito Meisaku Zukan Index

Toko Taikan Index (Gendai Only)

Showa Seki Tosho

Showa Tosho Rankings

Toko Taikan Index (Zip format)

Koto Taikan Index (Zip format)

Nihonto Newsletter Index (Zip format)

Token Bijutsu Index (Zip format)

Ritsumeikan Swordsmiths

NTT/NTS Showa List

Gendai Mino Swordsmiths

Undocumented Showa Smiths

MINATOGAWA SHRINE SWORDS

 The Minatogawa Shrine or Minatogawa Jinja was
established in 1941 by the Japanese Navy to produce
swords for distribution through the Japanese Naval
Academy. The head swordsmith was Kasame
Moriwaka (Masataka). Masataka first signed his
swords as either Michimasa or Morimitsu, but adopted
the name Masataka and the kikusui mon upon the
establishment of the Shrine. The Minatogawa Jinja smiths
produced true gendaito. The swords of the Minatogawa Jinja are
normally designated with a kiku-sui mon (chrysanthemum on
water) above the swordsmith's signature. One unusual early sword
of this group is signed: Oite Minatogawa Jinja Michimasa, dated
1941, and lacks the kikusui mon. That blade has received a Hozon
origami from the NBTHK. It is believed that all smiths of this
group used Masa as the first character of their name. The signature
(mei) normally reads "Minatogawa Jinja Masa----". Some of the
smiths working at the Minatogawa Jinja were Moriwaka
Masataka (oshigata at right courtesy of Ron Polansky),
Masahide, Ito Masakiyo, Masuda Masaaki, Murakami
Michimasa Masatada, Fujiwara Masayoshi, Okada Masanao,
Masamitsu (Fujita Masami) and Unshu Norimasa (Bando
Norimasa). Minatogawa swords are very well made and much
sought after by collectors; there being very few of them made.

There are several blades known made by Noshu Seki 23rd Generation Kanefusa
which have the kiku-sui mon carved as a horimono on the blade (not on the
nakago). These blades were not made at the Minatogawa Jinja Tanrensho and
have no known connection with it. These swords probably were a special order
from a group of Naval officers or a Naval officer's association.

Herman Wallinga's article Gendaito Made at the Minatogawa Shrine,

published in the Japanese Sword Society of the United States Journal (volume 33,
number 3, 2001) is the definitive English language reference for blades of the
Minatogawa Shrine.
 GENDAI SWORDSMITHS PAPERED
BY THE NBTHK OR NTHK

One aid in determining whether or not a blade is made in traditional manner, i.e. is a true
gendaito, is the issuance of origami (papers) by either the Nihon Bijutsu Token Hozon Kai
(NBTHK) or the Nihon Token Hozon Kai (NTHK). While all gendai smiths have not received
origami, one can be assured that the blades by "papered" smiths are true gendaito. Most
Yasukuni Shrine swords have received origami from either the NTHK or the NBTHK and are
classed as gendaito. The same is true for the blades of the Gassan School.

 Awa Kuni Akifusa  Yoshihara Kuninobu  Kasama Shigetsugu

 Kurihara Akihide
 Miyairi Akihira
 Chounsai Emura
(aka: Emura, E )
 Enshin
 Hori Hideaki
 Ichiryushi
(aka: Ichihara Nagamitsu )
 Shibata Ka
 23rd Gen. Fujiwara
Kanefusa
 Noshu Seki ju Kanekuni
 Zenjo Kanekuni
 Kojima Kanemichi ( Gifu )
 Hizen Motomura
Kanemoto
 Mino Kuni Seki ju nin
Watanabe Kanenaga
 Noshu ju Tanba Kanenobu
 Miyamoto Kanenori
 Seki ju Kanematsu
Kanetatsu
 Noshu Kanetoshi
(aka: Murayama Kinoichi )
(Ichimonji Murayama
Kanetoshi)
 Noshu Seki ju Fujii
Kaneuji
 Seki Yoshida Kaneuji
 Kaneyoshi (Kosaka
Kinbei)
 Hoki Ju Kanetani
Katsumasa
 Osamura Kiyonobu
(aka: Nagamura Kiyonobu)
 Bungo Iiitano (?) ju
Kunihide
 Yoshihara Kuniie
 Minatogawa Masaaki
 Hizen kuni Ikari
Masaharu
 Aizu ju Sekimuto
Masahiro
 Amatsu Masakiyo
 Minatogawa Masakiyo
 Sumitani Masamine
 Masanori ( Osaka )
 Hizen kuni Masatsugu
 Echizen Kuni Mitsuoki
 Endo Mitsuoki
 Munetoshi
 Ichihara Nagamitsu
(aka: Ichiryushi)
 Kuruma ju Nagamitsu
 Seishinshi Nagatoshi
 Hokke Saburo Nobufusa
 Takayashi Nobuhide
 Chikushu Nobumitsu
 Sa Nobumitsu
 Moritsugu Norisada
 Tsukamoto Okimasa
 Gassan Sadakatsu
 Gassan Sadakazu
 Imai Sadashige
 Takahashi Sadatsugu
 Amada Sadayoshi
 Iyo Matsuyama ju Seiken
 Ikkansai Shigemasa
(aka: Kasama Ikkansai
Shigetsugu)
 Fujita Tadamitsu
 Nakao Tadatsugu
 Kawashima Tadayoshi
 Ishido Teruhide
 Horii Toshihide
 Toshihide
 Miyaguchi Toshihiro
(aka: Yasuhiro, Kunimori )
 Tsukagoshi Tsugunobu
 Bizen Kuni Osafune ju
Fujiwara Toshimitsu
 Kato Tsunahide
 Sagami no Kuni ju Yasuaki
 Miyaguchi Yasuhiro
(aka: Miyaguchi Toshihiro)
 Ikeda Yasumitsu
 Yasunobu
 Kajiyama Yasunori
 Kotani Yasunori
 Shimazuki Yasuoki
 Yasushige ( Abe Shigeo )
 Musashi no Kuni Yakuwa
Yasutake
 Kajiyama Yasutoshi
 Yasuyoshi
 Minamoto Yoshichika

Takahashi Yoshimune

Chikugo Naumoto Yukihira
 Chikugo No Ju Muto
Yukihiro

The above listing of origami is very incomplete. It has been compiled from individuals having
direct knowledge or references of papered smiths. Many thanks to all those individuals who have
contributed information on gendai swordsmiths. This is an area of Japanese sword study that is
still very much on-going with new information surfacing frequently.
NOTE: Origami are issued for specific blades not to the sword smith. Many sword smiths made
both traditional and non-traditional blades during the WW II period. Just because one blade by a
specific smith has received origami does not mean that all blades by that smith are traditionally
made. Also, there may be several smiths using the same name during this period. Each blade
must be judged on its own merits and not simply by the signature of the swordsmith.

CAUTION ! Gimei blades (blades with false or fake signatures) of gendai swordsmiths have
been reported. With the increase in interest and hence prices of gendaito in recent years there are
sure to be unscrupulous people trying to cash in by faking gendaito. While this is not yet a wide
spread problem, collectors should be aware of the possibility.
 RIKUGUN JUMEI TOSHO
ARMY APPROVED SWORDSMITHS

RIKUGUN JUMEI TOSHO SWORDSMITHS

The presence of a STAR stamp on the nakago of a WW II era sword blade is an indicator
of a blade made by swordsmiths of the Rikugun Jumei Tosho. To become Rikugun
Jumei Tosho, a swordsmith had to pass tests and examination of his blades. Once accepted as an
Army Certified Swordsmith (Rikugun Jumei Tosho), the smith was given a regular allocation of
tamehagane with which to make sword blades. Jumei Tosho smiths also made blades using non-
traditional materials, mainly forged mill steel. Blades with star stamps and which show nie in the
yakiba are considered by some collectors to be gendaito; whereas other stamps were indicative
of blades made by non-traditional methods and are therefore not gendaito. It is still hotly debated
as to whether all tang stamps indicate non-traditionally made blades or whether certain stamps
such as the star stamp indicate blades made in the traditional manner. Some star stamped blades
have received origami from the NBTHK. A complete list of Rikugun Jumei Tosho swordsmiths
was published in Showa 17 entitled "Rikugun Jumei Tosho Meibo". There were also Navy
commissioned swordsmiths (Kaigun Toko), but little information is currently available on them.

The following are known blades with star stamps by Jumei Tosho swordsmiths.
 Miyairi Shohei (Akihira)
 Niigata Akihisa
 Hiragawa Akimitsu
 Kasuga Seizou Tokoro
Harumoto
 Chikuzen (no) Kuni ju Muto
Hidehiro
 Hidemine
 Chikuzen ju Kajihara
Hiromitsu
 Ikusa no Kajitsu Hisakuni
 Yoshu Seiunshi Hisatsugu
 Noshu ju Kuriyama Kaneaki
(star + Kitae stamp)
 Kaneharu
 Noshu ju Kanehide (star +
Seki stamp)
 Seki ju Kanehide
 Noshu ju Kanehisa
 (Kojima) Kanemichi (star
+Showa stamp)
 Noshu Seki ju Kanemichi
 Takeuchi Kanemitsu
 Seki Kanemoto
 Kanenaga (star +Seki
stamp)
 Noshu ju Kanenobu
 Oki Kuni ju Kikumitsu
(star + tai stamp)
 Senshu Kiyokane
 Choshu ju Kiyokune
 Izumo (no) Kuni
Kiyomitsu
 Choshu ju Kiyotsugu
 Hizen ju Kunimitsu
 Mori Kunitoshi
 Noshu ju Kunitoshi
(same as Mori Kunitoshi)
 Sendai Kunitsugu
 Iwashiro Kuniyasu
 Shoda Masafusa
 Hitachi Shishi do Isobe
Masahiro
 Kagawa Masahiro
 Masakuni
 Mizuno Masanori
 Ritsumeikan Masatake
 Saga (Hizen) Masatsugu
 Hizen kuni Masatsugu
 Ryu Masayoshi
 Ritsumeikan Masayuki
 Seki Mitsunobu
 Miyagi Morikuni
 Minamoto Nobushige
 (Yoshihara) Nobutake
 Noriaki
 Tsukamoto Ikkansai
Okimasa
 Oki Kuni ju Okimitsu
 Sanuki Kuni ju Okimitsu
 Shimane Okimitsu
 Kawano Sadashige
(aka: Minamoto Sadashige)
 Minamoto Sadateru
 Echigo kuni ju Uyemura
Sadatoshi
 Genbusai (Kojima)
Shigefusa
 Ikkansai Shigemasa
 (Tomita) Sukehiro
 Sukekuni (star + Showa
stamp)
 Sukenao
 Noshu (no) ju Sukenobu
 (Toki) Sukenobu
 Koshun(?) Tadatoshi
 Shimotsuke ju Fujiwara
Tadayoshi
 Yamashiro ju Higashi
Tokimitsu
  Noshu Seki ju Kanenori
 Kaneshige (star + Seki
stamp)
 Noshu ju (Morita)
Kaneshige
 Seki ju Kanetomo (star +
Seki stamp)
 Noshu ju (Murayama)
Kanetoshi
(star + Seki stamp)
 Gunma Imae Kanetsugu
 Joshu ju Imai Kanetsugu
 Seki ju Kanetsugu
 Tsushima Kanetsugu
 Kawai Kaneyoshi
 Inoue Katsukiyo
 Tokyo Dai Ichi Rikugun
Zoheisho Katsunobu
 Yoshida Katsunori
 Sanjo ju Fujiwara Kazunori
(may also be read as
Ichinori)
 Watanabe Morikuni
 Kanatoshi Minamoto
Morinobu
 Minamoto Moritaka
 Minamoto Moriyoshi
 Munehatsu
 Dewa Kuni Tsuchiyama
Munemitsu
 (Yamagami) Munetoshi
 Chikugo ju Endo
Nagamitsu
 Seishinshi Nagatoshi
 Onoki Naoji
(star + Seki stamp)
 Hokke Saburo Nobufusa
 Furuhata Tomomaro
 Toshihide
 Noshu ju Toshihide
 Baba Tsugukiyo
 Bizen no Kuni Akazaki ju
Toshimitsu
 Tsuguyoshi
 Yasukuni
 Ritsumeikan Yoshikazu
 (Narii Kesayoshi)
Yoshikuni
 Noshu ju Ishihara
Yoshisada
 Okishiba Yoshisada
 Iwami Yoshikiyo
 Hirasaki ju Yoshinobu
 Hizen (no) Kuni ju nin
Yoshitada
 Saga (Hizen) Yoshitada
 Hizen Kuni Kinoshita
Yoshitada
 Zuihu (same as Shigefusa)

The above list is very incomplete. Not all blades by Jumei Tosho swordsmiths were star
stamped. If the blade was a private or direct purchase or not for military use, there will be no
stamp appearing on the nakago. Many of the above listed smiths made gendaito which do not
bear a star stamp. Smiths who were Jumei Tosho also produced non-traditionally made (non
gendaito) blades. Each blade must be just individually, on its own merits.

Rikugun Jumei Tosho Swordsmiths Known From Literature Sources

In addition to the above known star stamped blades by the listed swordsmiths, the following
swordsmiths are listed in either the Nihonto Meikan, Tosho Zenshu or John Slough's An Oshigata
Book of Modern Japanese Swordsmiths 1868-1945. This list was compiled thanks to the research
of Jinsoo Kim. There are undoubtedly some duplications with the above list as some smiths did
not sign their family names or may have signed with more than one mei.

 Kawase Akikane  Sato Kiyokatsu  Yoshihara Nobutake

 Echigo no Kuni
ju Tesshushi Akimitsu
 Ishii Akifusa
 Shiono Akiharu
 Yoshihara Akihiro
 Nikara Akihiro
 Yamaue Akihisa
 Kondo Akikuni
 Shiono Akimichi
 Ikarashi Akimitsu
 Tanaka Akimori
 Konno Akimune
 Shiozawa Akinaga
 Kato Akinori
 Musashi no Kuni Akinori
 Sakurai Kiyokuni
 Nagamura Kiyonobu
 Koyama Kiyosuke
 Yamauchi Kuniharu
 Takajima Kunihide
 Kataoka Kunihiro
 Sakai Kunihisa
 Yoshihara Kuniiye
 Miura Kunimitsu
 Konoshima Kunimitsu
 Shibata Kunimitsu
 Kiku Kuninobu
 Yoshihara Kuniie
 Yoshihara Kuninobu
 Suzuki Kuninori
 Akiyama Nobuyuki
 Inoue Nobuyuki
 Morioka Noriaki
 Yasumoto Norimitsu
 Chikuzen Fukuoka
Moritsugu Norisada
 Tsukamoto Okimasa
 Hara Okimitsu I
 Hara Okimitsu II
 Tominaga Riyuu
 Wagou Sadajiro
 Gassan Sadakatsu
 Kaminura Sadakiyo
 Onishi Sadanari
 Echigo no Kuni
 Nikara Akisada (aka (aka Suzuki Kuniyoshi) ju Imai Sadaroku
Kunitoshi)  Mizuta Kunishige  Kawano Sadashige
 Iguchi Akisada  Nagao Kunishiro  Yoshu Saijo ju Nyudo
 Sanjo Akitada  Taguchi Kunitaka Sadashige
 Nakabayashi Akitaka  Horigawa Kunitake  Akimoto Sadatomo
 Tamura Akitaka  Ishiwata Kunitoshi  Kamimura Sadatoshi
 Kotani Akitaka  Nikara Kunitoshi (aka  Takahashi Sadatsugu
 Kotani Akitomi Akihiro)  Takai Sadatsugu
 Akimoto Ikkansai  Mori Kunitoshi  Enomoto Sadayoshi (aka
Minamoto Akitomo  Murayama Kunitsugu Yorikichi)
 Wakabayashi Akitoshi  Kikuchi Kuniyasu  Nishimoto Sadayoshi
 Takahashi Akitsugu  Ono Kuniyoshi  Kawasaki Sadayuki (Kaigun
 Baba Akitsugu (aka  Haga Kuniyoshi Toko)
Tsugukiyo)  Miyaguchi Masafusa  Andachi Sadayuki
 Fujita Akiyoshi  Isobe Masahiro  Kato Sanekuni
 Sasakawa Akiyoshi  Semimaru Masahiro  Kato Saneyoshi
 Kurihara Akiyuki  Ikeda Masahisa  Sato Shigechika
 Arai Akiyuki  Toriwa Masahisa  Ikkansai Shigemasa
 Tsutsumi Amatsugu  Takano Masakane  Kusakabe Shigemichi
 Sakurai Chikafusa  Katsumura Hitachi no  Hirose Shigemitsu
 Horigawa Chikamitsu Suke  Yodogawa Shigetoshi
 Tashiro Douyama Minamoto Masakatsu  Wakabayashi Shigetsugu
 Okada Genjou  Oshu Iwashiro ju nin  Tomita Sukehiro
 Kitamura Harunobu Choushi (Tsukamoto)  Kato Sukekuni
 Takefuji Hidehiro Masakazu  Takeshita Sukemitsu
 Koshi Wasasaburo  Yakumo Amatsu  Toki Sukenobu
Minamoto Masakiyo  Kanesaki Suketoshi
Nyudo Hidemune  Kobayashi Masakiyo  Fujiwara Sukeyuki
 Yatomi Hirokiyo  Morita Masamichi  Ihara (Fukutaro) Teruhide
 Torio Hiromasa  Miura Masamitsu  Ihara (Kametaro) Teruhide
 Yoshu Hojo ju Hiromasa  Hirai Masamitsu  Shibutani Terukatsu
 Kajihara Hiromitsu  Fukuda Masamitsu  Kawashima Terumitsu
 Takefuji Hisahiro  Sakai Masamizu  Ihara Teruyoshi
 Koga Hisakuni  Ishimichi Masamori  Furuhata Tomomaro
 Imai Hisatsugu  Ito Masanaga  Izumi Tomoyoshi
 Yoshihara Hisayoshi  Nozawa Masanao  Ikkansai Toshihiro (aka
 Takahashi Kagefusa  Mizuno Masanori Yasuhiro)
 Fukuda Kaneaki  Okajima Masatada  Imazumi Toshimitsu
 Fujii Kanefuji  Morioka Masataka  Baba Tsuguhiro
 Morita Kanefusa  Hiramatsu Masatomo  Morita Tsuguiye
 Nakata Kanehide  Okishiba Masatsugu  Baba Tsugukiyo (aka
 Otsuki Kanekuni  Taguchi Masatsugu Akitsugu)
 Kato Kanekuni  Sakai Masatsugu  Takahashi Tsugumasa
 Kuriki Kanemasa  Tokunaga Masatsugu  Kozuke ju Tsugumasa
 Takeuchi Kanemasa  Amachi Masatsune  Kozuke ju (Tsukagoshi)
 Godo Kanemitsu  Takahashi Masayoshi Tsugunobu
 Motomura Kanemoto  Kosaka Masayoshi  Imai Tsuguyoshi
 Kaneko Kanemoto  Sunaga Masayuki  Kato Tsuneyasu
 Kiribuchi Kanemune  Yoshihara Masazane  Morishita Ujiyu
 Godo Kanenari  Tashiro Michitoshi  Hino Ungo
 Niwa Kanenobu  Yamaguchi Mitsuhiro  Motomura Yasuhiro
 Kojima Kanenori  Takefuji Mitsuhiro  Moritaka Yasuhiro
 Fujii Kaneoto  Hizen no Kuni Mitsuhiro  Ikari Yasukazu
 Koda Kanesada  Arai Mitsunori  Takeshita Yasukuni
 Murayama Kaneshige  Miyake Morichika  Matsunaga Yasumitsu
 Moriyama Kaneshige  Miyagi Morikuni  Ryozen Ikari Yasukazu
 Morita Kaneshige  Sato Morikuni  Yoshimi Yasutsugu
 Sato Kanesumi  Sakuma Morikuni  Kojima Yasuyoshi
 Koketsu Kanetaka  Watanabe Morikuni  Motojima Yasuyoshi
 Kiribuchi Kanetomo  Terada Morinobu  Enomoto Yorikichi (aka
 Miwa Kanetomo  Miyake Moritaka Sadayoshi)
 Kozuke junin  Momota Munehide  Osaki Yoshihira
Ryuminsai Kanetomo  Yuki Munemitsu  Nikara Yoshihiro
 Shoka Kanetoshi  Ikeda Munetoshi  Sato Yoshihisa
 Murayama Kanetoshi  Yamaue Munetoshi  Fujita Yoshikane
 Tsukahara Kanetsugu  Tanaka Munetsugu  Taniguchi Yoshikane
 Imai Kanetsugu  Endo Nagamitsu  Kawai Yoshikazu
 Ryuminsai Kanetsugu  Ichihara Ichiryushi  Kihara Yoshimasa
 Fujitani Kaneyoshi Nagamitsu  Tanaka Yoshimitsu
 Kawai Kaneyoshi  Sato Naganari  Yasumoto Yoshimitsu
 Murayama Kaneyuki  Kuwahara Naganori  Fukuda Yoshimitsu (Kaigun
 Sato Kanezumi  Osanai Nagayoshi Toko)
 Inoue Katsukiyo  Ichimura Naohisa  Takahashi Yoshimune
 Onuma Katsutoshi  Dewa Yamagata ju  Koide Yoshimune
 Miyano Kazuichi Heiryo Naohisa  Takeyama Yoshinao
 Ikeda Kazumitsu (aka  Okuyama Naomasa  Tangi Yoshinobu
Yasumitsu)  Shimura Naotake  Nikara Yoshinobu
 Suzuki Kazuyuki  Kobayashi Naotsugu  Yamamura Yoshisada
 Sakamoto Kikumitsu  Takahashi Nobufusa  Kinoshita Yoshitada
 Kobayashi Kiyokane  Nobuta Nobukuni  Chikugo ju Muto Yukihiro
 Tsutsui Kiyokane  Okishiba Nobushige  Takefuji Yukihiro
 Iwasaki Nobushige  Moritsugu Yukimune
 Taguchi Yukiyoshi
 Fukuda Zenshiro
 JAPANESE SWORD VISUAL GLOSSARY

MAJOR PARTS OF THE JAPANESE SWORD BLADE

Japanese sword blades were/are made in a variety of lengths. The blade is classified by its
length. A daito (long sword),either a tachi or katana, is over two shaku (one shaku equals
approximately 12 inches or 30 centimeters) in length. A shoto or wakizashi has a blade length
between one and two shaku. A tanto blade is normally under one shaku in length. The length of
a sword blade (nagasa) is measured from the tip of the kissaki in a straight line to the mune-
machi.

MAJOR PARTS OF THE BUKE-ZUKURI KOSHIRAE

The buke-zukuri style of sword mounting is the most common type seen today on antique
Japanese swords. It is also called the uchigatana or katana style. A set of swords consisting of a
long sword (daito) and a short sword (shoto) which are mounted in identical koshirae are
referred to as a daisho. Daisho or daito could only be worn by samurai or higher rank, whereas
the short sword (shoto or wakizashi) could be worn by merchants, tradesmen and craftsmen. This
accounts for the increased value of daito (katana or tachi) versus shoto and for the greater
numbers of shoto (wakizashi) found today. Swords in buke-zukuri mountings are worn edge up
with the saya thrust through the obi (waist band).

Occassionally the saya of katana, wakizashi or tanto (never tachi) will have slots for various
types of accessories to be carried. There are several types of utensils which may be found. The
most common is a kozuka or small knife. [Technically the kozuka is just the handle, the blade is
the kokatana or gokatana] This is a general utility knife, used much like a pocketknife. A kogai
is a hair arranger and ear wax cleaner. The wari-kogai or waribashi is like a kogai which is split
in the middle and can be used as chopsticks. The umabari is a one piece, all steel implement of
triangular cross-section. All of these were made by skilled artisans and are highly sought after by
collectors.

MAJOR PARTS OF THE TACHI KOSHIRAE

There are several variations of tachi koshirae. The above is a Ito Maki tachi. Tachi are
commonly associated with early Koto era swords and were worn by higher ranking samurai and
daimyo. The tachi is worn edge down with the saya suspended from a sword belt. Tachi of
various styles have been made from the earliest Koto eras through the modern period.

The Kazari tachi was one of the earliest styles of Japanese sword. It had a straight kiri-ha
zukuri blade. This style of tachi was used in the early Koto period, Nara and Heian eras, and
was worn only by nobles of the Imperial court.

Efu tachi, also called Hoso tachi, were likewise only worn by the highest ranking daimyo and
officials of the court. Efu tachi have a shitogi tsuba. These are generally considered ceremonial
mountings rather than combat mountings. Efu (Hoso) tachi were made from Koto through
Showa times.

Bird's Head Tachi is a variation of the Efu tachi and were carried as court swords during many
periods of Japanese history. They were still being made as presentation swords during the Showa
era.

There are also "hybrid" mountings called handachi which are similar to the buke-zukuri style
but have kabuto-gane, sayajiri and semegane like a tachi. Handachi are worn edge up like
buke-zukuri mounted blades.

MAJOR PARTS OF A SHIRASAYA

A shirasaya is a storage scabbard used to protect the sword blade when not in use and when not
mounted in its normal buke-zukuri or tachi fittings. The shirasaya is normally made of ho
wood and may have information about the sword blade written on it (sayagaki).
ADDITIONAL ARTICLES ON STYLES OF SWORDS AND KOSHIRAE
Be sure to read Clive Sinclaire's excellent article on Japanese sword mounts

Also read Guido Shiller's fine article on types of swords and koshirae

When examining a sword, always be alert and look for blade flaws (kizu).

For detailed graphics of Japanese sword terminology; types of hamon, hada,

mune, blade shapes, boshi, kissaki and nakago, please see
Japanese Sword Terminology Parts I and II
For additional terms see the Japanese Sword Glossary
 BLADE LAMINATION METHODS

One of the things that makes the Japanese sword (Nihonto) unique is the way in which the blade
is constructed by laminating different types of steel together to forge the blade. These lamination
techniques give the sword its strength, durability and resistance to breakage. Numerous
lamination techniques have been tried over time, but the major methods have remained in use for
many centuries. These same techniques are used by modern sword smiths when forging new
swords (shinsakuto) today. The value of a sword is in part determined by the complexity of its
construction. Historically various schools of sword smiths used specific construction methods.
These methods of lamination have been determined by metallurgical analysis of numerous
antique sword blades. These lamination methods together with the differential hardening of the
blade to give a hard edge (hamon) while maintaining a softer blade spine make the Japanese
sword one of the most durable and break resistant swords known. .

Code to different types of steel

Of these methods of construction, the "maru" or non-laminated is the poorest. The "kobuse" was
and is still used (especially on WW II period swords) ; but the "honsanmai" or simply "sanmai"
is the most common lamination technique used in forging the Japanese sword. The famous sword
smith Masamune used the "Soshu" seven layer construction method.

See actual blade cross sections of Japanese swords,

courtesy of Ted Tenold, Harvey Stearn and Mike Christianson.
 SWORD BLADE MEASUREMENT

The blade length (nagasa) is measured in a straight line from the mune-machi (back blade notch)
to the tip of the kissaki (point). The nakago is measured from the mune-machi to the tip of the
nakago (nakago-jiri). The kissaki (point) is measured from the yokote to the tip of the kissaki.
Sori (curvature)(see below) is measured from the back of the blade (mune) at the widest point on
a straight line from the mune-machi to the tip of the kissaki (point).

** Japanese Unit
Conversions **

1 shaku = 11.93 inches

(30.30 cm)

1 shaku = 10 sun
1 sun = 1.193 inches
(3.03 cm)

1 sun = 10 bu
1 bu = 0.119 inches (0.303 cm)

1 bu = 10 rin
1 rin = 0.01193 inches (0.0303 cm)

Note: 1 shaku is commonly approximated

to be 12 inches (1 foot)
 SWORD BLADES CLASSIFIED BY LENGTH
Daito ( katana, uchi-katana, tachi, no-dachi ) - nagasa over 2 shaku
Shoto ( wakizashi, chisa-katana ) - nagasa between 1 and 2 shaku
Tanto - nagasa under 1 shaku
Some collectors add the descriptive prefixes "o-" or "ko-" to indicate a blade slightly longer than
normal or somewhat shorter than normal; i.e., an "o-tanto" might have a blade slightly over 1
shaku in length, etc.

Blades with little or no curvature are termed "mu sori".

Some tanto may have a slight reversed inward curvature (uchi sori).
 SWORD BLADE NIKU
by
Keith Larman

The following article was written in response to a series of questions on an on-line forum on the
topics of niku, blade widths, different tsurikomi (blade structure), and the effects of those things
on the efficiency of tameshigiri practice. The post was originally written with the idea of
illustrating niku in very simple terms, but ended up being more a long article on the complexity
of the issue. I had hoped to help those looking to buy swords for tameshigiri to better understand
the role of niku but also to help them understand it's raison d-etre historically. But it grew in
length as well as scope. Niku is a topic that I've thought about a lot as a user, a collector, and
mostly lately as a guy struggling with understanding traditional polishing (I work predominantly
on modern blades made by Western smiths working in the Japanese style). I don't profess to have
all the answers. I don't even claim that I hold all these views with certainty. I'm walking down
the same road as everyone else. So take it all with the spirit that some things could be starting
points for new discussions.

Understanding Niku

Niku literally translates into "meat". It's a term used to describe the tendency of a traditional
Japanese blade to have a bulging cross section on the side surface. Another way to think about
niku is the degree of "roundness" of the ji surface. Niku is distinct from thickness of a blade, or
the kasane. A thick blade with a flat ji surface has no niku. A blade could be vastly thinner and
lighter but if it has a lot of roundness to the ji it will have niku. So you have to separate niku
from kasane.

Traditions

Depending on the era, katana were often made with considerable niku. A common method for
determining the amount a blade has been polished in its lifetime is to look at the amount of niku.
If the blade is "hiraniku ari", or with a lot of niku, it's probably not been polished a whole lot or
else the polishers were extremely careful to preserve the blade. If the surface of a blade that
started out life with considerable niku is flat, well, it's either been polished a lot or been polished
by someone along the way who didn't take the time nor care to preserve the niku. Consider the
following drawing (Figure 1). The solid lines show the blade when first made and polished. The
dashed lines show what happens to the ji surface over time. (Obviously all surfaces will be
reduced during repeated polishing, but I only wanted to illustrate the effect on niku.)
What you will see is a gradual flattening of the ji surface. This is inevitable as the polisher
normally will be concerned with preserving the edge material as much as is possible. So if
material has to be removed due to chips or rust, generally it has to be removed all over the blade,
but it's better to sacrifice bits of the side over losing hard edge. And no matter how good you are,
given enough time it will simply get flatter. There's only so much you can to without turning the
sword into a toothpick!

This shows us why niku will tend to gradually lessen over repeated polishing. This brings us to
the topic of this post. Why niku at all? Consider the physics of a cut. The katana is a slicing
weapon delivered with a fairly significant amount of force. And anyone who has trained with a
katana knows that two of the most difficult parts of learning to use the sword is getting a proper
slicing action and at the same time maintaining a true path (hasuji) through the cut. A cut
properly delivered to an appropriate target feels almost effortless, almost like you're not doing
anything but letting the sword cut through the target. However, if you don't slice enough, or
rotate the blade just a hair, suddenly the cut becomes vastly more difficult. That difficult feeling
is part of the reason for niku.

What you're feeling when this happens are a variety of forces on the ji surface or on the edge
itself. If you're not slicing the cut enough, the downward force of your cut is now concentrating
into a smaller surface area of the edge. The brittle edge. And if you rotate the blade just a little,
all the force is now no longer passing straight back through the entire blade (where it's strongest),
but out at an angle meaning the ji is being pressed into the target.

Blade A, a shinogi zukuri with niku has a fairly wide angle where you could strike the target and
still have support behind the edge. So blade A is most likely to not be damaged with an off-angle
cut. There's more steel supporting the edge. This extra steel provides a shock absorber of sorts to
the edge itself. This type of extreme niku turned out to be optimal for dealing with more difficult
targets like armor and did more than just slice but also cleaved to an extent.

But because of the wider angle of the very edge on blade A, the edge won't get as sharp as Blade
B or C. But it still won't dull nearly as fast as B or C because it's simply stronger with more
material. The edge on B, a shinogi zukuri without any niku, is thinner even though the blades
have the same kasane at the shinogi. This edge actually can be sharpened a little sharper, but it's
also weaker overall. The angle at which force can attack the edge where the edge will retain
support behind it is much smaller. So the edge is weaker, more likely to roll, more likely to be
thinner, hence also more easily chipped. Sword C, a hira zukuri, is even thinner on the edge. So
it can get laser sharp, but the edge is just a little more fragile still.

At this point in the discussion I think it's important to briefly consider the metallurgy of the
traditional Japanese sword. They are an absolute testament to the creativity of the smiths of old.
They took a relatively "dirty" source of steel and devised methods to create amazingly resilient
swords of unparalleled beauty. But, contrary to movie, cartoon, and other popular culture
depictions, they cannot cut boulders, won't cut machine gun barrels, and won't cleave a marble
column in half. They broke. And broke fairly often historically. And they chipped and they bent.
They were never indestructible. So when the samurai of old had to face opponents wearing more
than just cotton clothes having a stronger edge became critical. Armor and various other means
of self-protection were used all throughout history. If you put yourself into the typical samurai's
tabi, having your blade snap in two in the middle of a crowded battlefield is just not a happy
event. And if people are wearing various types of armor you want your sword to survive even the
bad cuts. Tamahagane based steel is beautiful to look at and can be quite tough when forged into
a beautiful sword by a master smith . But it's not indestructible. So a balancing act was
maintained with the traditional blade. Niku was introduced to ensure a balance between a strong
supported edge and a razor sharp cutting edge. So back to the shapes...

What happens when each of these blades passes through a target? Referring back to Figure 2.

Notice that sword A has a wider cross section closer to the edge. B is of the same width but it's
higher on the blade due to the flattening. Then C, the hira, is thinner overall. What effect does
this have on cutting? Well, on a soft thin target blade C will cut it like a hot knife through butter.
Think about it for a second. When a blade passes through a target it has to "lift and separate" as it
passes through. The hira has the thinnest blade of them all. The mass is distributed totally
differently essentially "flattening out" a shinogi zukuri design. So the mass is spread out on a
thinner but wider surface area (taller edge to back). And since it's so thin it only has to separate
the target "just enough" to allow the blade to pass through. Also, since the blade is essentially a
large flat wing, as it enters it will start to keep itself in line, much like a wing on an airplane. So
the cut stays truer with less chance of scooping the cut. And to top it all off, the hira has such a
thin edge that it can be razor sharp. And as long as the target is soft and won't roll the edge, that
sharp fine edge can work wonders on the target. So it sounds like the hira is the ultimate cutting
sword.

But it's not. Not all targets are the same. If we consider a similarly soft target, but get it
progressively thicker the equation starts to change. Ever tried to cut a thick piece of cheese with
a wide knife? It gets hung up. Cut the same piece of cheese with a cheese knife (the type with
holes in the blade) or a cheese wire. It's simple. The difference isn't sharpness, its drag through
the medium. So we introduce a new consideration. While the thinner blades are very sharp and
still only have to separate the target a little bit, if the target is sufficiently thick they now has to
deal with friction of the surface of the ji passing through the target. As the target gets thicker the
taller hira blade now starts to reduce it's own effectiveness. By distributing the mass along a
flatter plane, it also makes for greater surface area. And as that passes through the target the
target is pressing on the face. So the wider and heavier the target and the larger the ji surface, the
more friction the blade experiences as it passes through the target. The swordsman gets a feeling
of "drag" during the cut. So let's return to niku again.
In Figure 3, the niku of sword A now shows its advantage. On a sufficiently thick target the very
shape of the blade creates a wedge that lifts and separates the target a bit more. This combined
with the shinogi-ji being either flat or pulling back toward the mune means that much less blade
surface is in contact with the target. So less surface area, less friction. On a thick target the
thicker shinogi zukuri blade with niku might actually feel easier during the cut even though the
hira will displace the target less and is sharper!

Then if we talk about harder targets, well, the advantage of a sharper edge diminishes as the
strength of the edge becomes more of an issue. A really hard target might just chip or break the
hira blade. But the slightly duller but vastly stronger edge on a shinogi zukuri blade with
sufficient niku actually might cut better.

History Lesson - what can we learn?

I think it's important to note that hira zukuri is rather rare historically in katana lengths. Given
the strength of the old steel, the metallurgical knowledge of the day, and the fact that not all
smiths stress relieved their swords after quenching hira zukuri wasn't exactly a great choice in
that length. If the sword is always used perfectly with perfect form, there probably is no issue.
But just a little rotation on a hard target and the lack of thickness in the blade (kasane) would
likely mean a broken blade or at a minimum a chipped or cracked edge. Not a good thing if your
life depends on it.

Niku was "par for the course" for shinogi zukuri blades which themselves were the
overwhelmingly favorite design. The reason being that it added edge support, improved edge
life, and allowed the sword to survive even harder targets even though the brittle edge was often
relatively fragile. The thickness was enhanced while weight was controlled through the use of
the distal taper. All in all a truly elegant design and a balance of many factors.
 Fast Forward to Today

So do we know have answers to all our questions? Shinogi zukuri with niku is the "right" way to
go, right? Well, "yes they likely were" and "no, maybe it's not so simple today".

There are modern western smiths like Howard Clark (http://www.mvforge.com) who are making
swords out of homogeneous steel and are using all the combined knowledge of the past along
with modern metallurgical science to create blades that are stronger, more resilient, and
sometimes near indestructible. Howard Clark has a blade made by a highly technical duplex heat
treatment that yields a simple notare hamon, martensitic edge, and a bainite body (as compared
to the traditional pearlite). The duplex L6 from Howard Clark can actually take a severe flex
without breaker or even taking a "set". It may not have the beauty, hada, and jigane of a Koto
blade, but it will certainly outperform them by tremendous margin regardless of tsurikomi.

Hira zukuri was not a common form in katana lengths. And for good reason. The steel of the day
couldn't stand the stresses of cutting at katana lengths. But a hira zukuri sword made today by a
quality smith with top notch heat treating can likely stand more abuse than most antique shinogi
zukuri blades of old. The newer steels and the newer heat-treating methodologies of today make
for dramatic improvements in many areas. So a flat hira design made by a top-notch smith with a
top-notch heat treat might be just as resilient to sets and breaks as any historical katana. If not
significantly more.

But other things haven't changed. No matter the strength of the blade, you still have to get
through the target. And the big honking sailboat sized hira blade that some use today in
competition still doesn't lift through targets. And they have a rather considerable surface area that
must pass through the entire target. So while it might seem like "cheating" on soft thin targets,
the hira blades start to be a liability on vastly thicker, heavier targets. The surface area of the
blade passing through all that material adds a lot of drag. So it's a give and take. Like most topics
of the sword, it's complex and too varied to make too many generalizations.

What about High Shinogi vs. Low Shinogi vs. Bo-hi, etc.?

Okay, this is quite a tangent, but I think it's important and will invariably end up discussed. A
high shinogi is defined in terms of the slope of the shinogi-ji, not the distance between shinogi
on each side of the blade. So angling the shinogi-ji surfaces back towards the mune creates a
high shinogi. This can have a number of effects. One is that having that high shinogi actually
creates a small turbulent area behind the blade creating a subtle "whooshing" sound when the
sword is swung cleanly. This should appeal to Iai practitioners. This can also lighten the blade
considerably while minimizing structural compromise.

So if the desire is to lighten the blade, tapering the shinogi-ji back to create a high shinogi can do
the trick. It will also have another effect - reducing the surface area of the face of the sword that
comes into contact with a target during a cut (see, it is related to the topic) . So it might also have
the slight effect of making cuts on thick targets easier. Less drag yet again. But it still occurs at
the cost of mass (which if it's too heavy is a good thing, but if it's too light is bad because you
lose inertia during the cut). A low shinogi means generally more weight that might be a good
thing if you need more momentum during a cut, but a bad thing if you're worried about
minimizing drag during the cut.

Then there's bo-hi. I'm not a fan from a performance standpoint . Think about what it's doing. If
the blade has a low shinogi and a bo-hi, you're reducing weight creating an edge on the top of the
bo-hi to grab target as the blade passes through. Then if the bo-hi is grooved deeply rather than
smoothly and shallow , you've removed significant material from the cross section so a poorly
angled cut should snap the blade. It reduces weight and reduces strength. On the other hand,
tapering the shinogi ji to create a high shinogi can reduce weight similarly but without such a
serious compromise of the lateral strength of the blade. And the high shinogi also reduces
surface area at the same time. It seems to be a vastly better solution.

And remember that bo-hi were usually done historically for a variety of reasons. The first was to
have a way of cutting out weld flaws or other "boo-boos" that appeared on the surface. This
could save a blade from the trash heap. The second reason for cutting in grooves was to "correct"
an old poorly balanced sword. Both of these methods work given the motivation, but ultimately
both reasons are fixing something after the fact. The final reason was purely for aesthetics. Some
just like 'em. This is a personal taste issue -- but it can become a safety issue if the blade is being
made for tameshigiri.

My personal opinion

To state the obvious, if we're talking about antique blades or blades made in the traditional
fashion, they should have niku appropriate to the smith, school, or tradition the blade came from.
If for no other reason because if it doesn't, it's most certainly not a traditional blade shape. It's
part of the traditional shaping so it should be there. It makes sense given the history of how the
swords were used, the metallurgy of the blade, and how that material was heat-treated.

If we're talking about a production blade, factory produced, well, I'd want to see some niku in my
blade and I likely wouldn't want bo-hi. Here the concern is safety. Factory production *generally
* (there are exceptions of course) isn't conducive to high performance. The heat-treating in a
factory is usually geared towards reliability, repeatability, and "good enough" results. So if the
hamon forms, the blade isn't overly brittle or soft, well, there ya go. Customers of blades at this
level rarely ask about heat treating details, rarely ask about destructive testing, rarely ask about
how much abuse a sword can take -- I know, I've dealt with this segment myself for quite some
time . They will ask about whether it has a cool hamon and whether the yokote is real. But most
smiths will tell you that while you can form a beautiful hamon and get reliable results, that really
doesn't mean you've maximized the potential of the steel. A talented "heat-treater" will push it to
the limits. This is at odds with the "as many as possible survive heat treat" philosophy that a
factory has to follow to stay profitable. The guy pushing the limits is trying to get the toughest,
strongest, most reliable blade possible. And each heat-treating is geared to the specific blade.
And they'll shatter them occasionally. The failures during heat treat will be obvious and
spectacular. The factory will heat treat hundreds of blades within limits to ensure they'll almost
all survive. All things being equal the blades made by the custom smith will be vastly stronger
and more reliable. The factory blades can still be decent, usable, and good buys, but there simply
isn't a comparison even if they're using the exact same steel. As a result I'd personally prefer to
see thicker, beefier blades with stronger niku on production katana. It's simply a matter of erring
on the side of caution.

Custom smiths like Howard Clark are writing new rules on the performance side of the Japanese-
style sword. They're not confined within the parameters of tradition for better or worse. With
better materials, highly precise heat treatments, and a strong understanding of how the blades are
used, these swords can take tremendous abuse. Obviously they don't necessarily look exactly like
the nihonto of old in steel color, texture, hamon and hada. But then again most of the best smiths
historically had their own look as well. At some point you have to appreciate each man's work in
it's own terms, and some pieces That means that niku may not be as necessary to survive bad
cuts. It still might be desirable for other effects during cutting, but there's no reason a hira zukuri
katana with a laser-like edge couldn't be made that would be as sturdy as the average sword used
today for cutting. You might still have trouble with different targets due to a variety of reasons,
but the sword itself should handle the stresses.

Anyway, the bottom line is that niku is something that does not exist in isolation. We have to
consider the cross section, the targets, the style of use, and the material and heat treatment used
for the blade. It's not so simple to say that niku is a good thing. We can say that it's a good thing
on certain blades for certain uses. So again we're left with the same observation. The details are
important, but all the details are important. Everything has to fit together. No one feature makes
a blade better than another. All the features together are what define a good sword. It's not
whether the sword has niku, or a sharp edge, or the steel used, or the heat treatment, or the
hamon type, or the folds in the steel. It's whether all the features of the sword work together as a
harmonious unit to accomplish the task.

Antique swords balanced all those features marvelously and niku was a necessary component.
Today's production swords probably could learn something from that lesson. The same is true of
the design of the shinogi (high vs. low). There are many swords on the market that are bulky and
unwieldy due to poor shaping. Bo-hi may not be the best solution. And today's custom swords
add new ingredients to the recipe. With better steel and more controlled heat treatment and the
control of microstructures that the top smiths bring to the game, well, new things are possible.
And niku may be less necessary for blade preservation. But that also doesn't mean it's not a good
thing for other needs. Complicated enough? Now I imagine there are more questions raised than
answers given.
 HADA AND NUGUI
by
Jon Bowhay

This article was originally published in The East magazine.

It is reprinted here with the permission of the author.

Most Nihont� enthusiasts are aware of how important the Hada is to the Japanese sword. It is
one of the major points of aesthetic appreciation and a key factor in determining the time, place
and school of production. It is also the key to the technical quality of any sword. It is the key not
only because well forged, even Hada is obviously desirable and shows that the smith had a
thorough knowledge and control over his skills, but also it affects the tempering process. What is
not often mentioned is that poorly worked and forged steel will not produce or take a good
Hamon. This extends to the color, brightness - the Nie and Nioi - and how they form within and
around the Hamon, and even the shape of the Hamon itself. Whether the Hada is Itame,
Mokume, Masame or some combination dictates what kind of Hamon both in shape and intristic
characteristics can be successfully done. The various qualities found in the steel and imparted to
it during the forging process are important in this, but the physical forging grain of the steel is at
least as important.

As a T�gishi, I could not presume to comment on the forging process in detail as it is another
area of expertise entirely. But as a T�gishi, I must be able to deal with the outcome of that
forging technique: the Jihada.

Specifically the work on the Hada begins in the Shitaji stage and is carried on into the Shiage.
The Hato and Jito stones are used in this case. The stones are of the same kind known as
Uchigomori stones. The Hato is usually to deal with the Ha and the Jito, the harder of the two is
used to bring out the Jihada. It is used to make the Hada more prominent, or less so, in the case
of loosely or coarsely forged Hada. By judicious use of the Jito we can to some extend give the
forging a more even appearance. When well done by a T�gishi with a true understanding of
his work, the forging will have a more mellow, well balanced appearance. I hasten to add
however, that no T�gishi can change the basic appearance of the forging or make a poor
quality blade better intrinsically. We can only work with the basic quality of the Hada to enhance
its positive points in a pleasing way.

With the completion of the Jito, the Shitaji is also completed. We then move into the Shiage
work which requires a totally different body position and frame of mind. I continue to work on
the Hada in the Tsuya process, using stones I have chosen, split and ground by hand to about 1
millimeter thickness. These I glue with lacquer to paper made from the persimmon tree. There
are two different kinds of stone used in the Tsuya process. One is the Hazuya stone used in the
Hato and Had�ri process. The Jizuya is of a yellow brown cast and, as the name implies, is the
stone used to deal with the Jihada. This stone helps capture the beauty of the steel by bringing up
the highlights of the Jinie. This will give the steel the Nettori or moist, sticky appearance that is
so prized in fine blades, and bring out the natural color of the steel. The degree to which all this
can be achieved depends on the T�gishi's skills and the actual amount of Jinie there is to begin
with.

It's absolutely necessary to choose the proper stones for each sword. As stones are natural things
there are infinite qualities to be found in a single type of stone. This is true of the steel and
forging of each blade, and each T�gishi has a different touch from any other. So we see that
the choice of stone is quite dependent upon a number of complex variables. Being able to choose
stones of the right sort is one of the important skills a really first class T�gishi must master.

When the Jizuya process of the Tsuya is completed, it is time for the Nugui. The word simply
means "to wipe" and does not really give one any idea of its great importance. It caps all the hard
work leading up to giving full expression to the Jihada. The actual substance known as Nugui is
made of flakes of highly decomposed steel that is a by-product of the swordsmiths' forging
process. This is ground with mortar and pestle for several weeks. It is then mixed with
Ch�jiy� [clove oil] and worked into the Jihada. Though this finely ground and strained
through Japanese paper, the polisher must be careful not to get Nuguibiki (Nugui scratches) on
the Hada. This would be a disaster and require redoing much of the work already completed. To
guard against this takes a very sure touch. In this process, as in the rest of the work as well, one
must never hurry, must be deliberate, have courage and put absolutely everything else out of his
mind. I have found if someone, no matter how great his skill, lets his mind dwell on one thing or
another, his work will come to grief. This may sound easy, but it is the nature of a person to
worry about daily things and it is no slight thing to block these things out.

In relationship to the previous work done in the Shitaji with the Hato and Jito, the Nugui process
is physically less demanding, but emotionally and aesthetically every bit as demanding. Should
the Hada take on too dark or too light an appearance, there is no real way to balance it later.
Either situation probably denotes some error in judgement when doing one of the previous steps
mentioned. Of course the Jihada of any blade has its own qualities, and some are difficult in the
extreme to work with and make them look attractive, but something can always be done to make
the Jihada acceptable to some extent. A T�gishi must, while working on a blade in the earlier
steps, be able to anticipate such problems.

When deciding how dark or light to make the Hada, not only the natural highlights and color of
the Hada must be taken into consideration but also the height and shape of the Hamon and the
basic fineness and coarseness of the Hada forging as well. In the case of a high Hamon where
there is more Ha than Ji, I may consider less darkness in the Ji desirable. In any case, the Ji will
appear to be darker than it is due to the contrasting whiteness of the Ha. The T�gishi must not
allow the Ha to overpower the total affect of the polish. Conversely in the case of rather low
lying Hamon, the T�gishi may wish to give a very slightly darker cast to the Hada. This is
especially true of blades with a rather Shiraketa Hada. This is Hada with a milky, cloudy color.
These blades are always a problem, but still can be made quite attractive if the problem is
anticipated early and steps taken to minimize it.

When the Nugui is complete it is time to move on to the burnishing of the Shinogiji, the
Had�ri, and finally the placing of the Yokote and Narume which will complete the polish and
is not in the scope of this article. At this point I must minimize the ravages of time and get back
to work on the blade that awaits my undivided attention.
 Other articles on sword polishing by Jon Bowhay

The World of a Togishi

Hadori and Sashikomi

Editor Note: Jon Bowhay is one of very, very few Westerners to ever have completed the full
ten year apprenticeship in Japan to become a fully trained and licensed sword polisher (togishi).
 JAPANESE SWORD FLAWS
( KIZU )

There are numerous types of flaws (kizu) which can be found in Japanese sword blades. All
detract from the artistic beauty of the blade and many render the blade non-functional and/or
valueless. With the exception of broken or cracked kissaki (points), the following types of kizu
can be found anywhere on the sword blade. Non-fatal flaws can be corrected by an experienced
polisher whereas fatal flaws cannot be corrected and render the blade completely non-functional
and generally of little or no value. It should be noted that even fatal flaws may be acceptable in a
really old blade (early Kamakura Period) and/or in blades by noted smiths. An experienced
collector/student of Nihonto must decide what is acceptable for their collection. While a blade
may be seriously flawed and have little monetary value, it may still be a useful study piece to aid
in learning the characteristics of particular smiths or schools of swordsmiths.

Examples of Kizu

 BROKEN KISSAKI - This is a fatal flaw if the kissaki has been broken past the
boshi (tempered area). If the break does not extend past the boshi, a good polisher
may be able to reshape the kissaki.

 CHIPS - in the ha (edge) or kissaki (point) may or may not be fatal depending on
whether they extend thru the hamon (tempered edge) or boshi (tempered point). A
fatal flaw if chip extends past the hamon.

 FUKURE - Air or carbon pockets or blisters in the steel. Normally due to a bad
weld between layers when blade was forged.
 HAGIRE - Cracks in the hamon (tempered edge) perpendicular to the edge.
These are commonly VERY difficult to see, especially under poor lighting
conditions. Hagire are fatal flaws.

 JI-ARE - Irregular or raised area; may be indicative of underlying blister or core

steel being exposed due to excessive polishing.
 KARASUGUCHI - (Crow's Beak Hagire) - Crack in the boshi. These are fatal
flaws.

 SHINAE - Ripples or wrinkles in the skin steel generally due to a bent blade
having been straightened. These can be anywhere on the blade (shinogi-ji, mune,
etc).

 UMEGANE - Region of blade filled with separate piece of steel; generally to fill
in a major carbon or air pocket.
 MIZUKAGE - Cloudly line running diagonally from the ha (edge) near the ha-
machi. This is commonly a sign that the blade has been retempered. While there
were a few smiths that made mizukage deliberately, most often it is considered a
flaw and indicator of a retempered blade. On retempered blades the hamon will
sometimes stop in front of the ha-machi. Again, some smiths did this deliberately,
but most commonly it is a sign of a retempered blade.
  SHINTETSU - Dark areas on the surface of the blade (ji or shinogi-ji) where the
outer layer of steel has been removed and core steel shows through. This is
normally a result of over polishing and indicates a "tired" blade.

 WARE - Horizontal "lines" (splits) generally due to a poor weld between layers
of steel. Ware may occur anywhere on the blade (mune-ware, tate-ware, shinogi-
ware, etc). These are very common.

 NIOI GIRE (interrupted hamon) - If the hamon (temperline) is interrupted or

runs off the blade at any point, or off the boshi; it is a major, normally fatal flaw.

There are numerous other types of defects/flaws found in Japanese sword blades. Be certain to
check CAREFULLY when examining a blade prior to purchase. Many flaws are quite subtle
and can be very difficult to see (especially hagire - use a magnifying glass). Also be sure to sight
down the back (mune) of the blade from the nakago (tang) to the kissaki (point) to determine if
the blade is bent. Take your time when examining a blade as once the blade is purchased it is too
late to complain about a newly found flaw.

Be sure to read Clive Sinclaire's article How to Recognize a Good Sword. He discusses some
other points to consider in buying a Japanese sword.
 ICHIHARA NAGAMITSU

Nagamitsu is one of the most famous names in the history of Japanese swords. There have been
various swordsmiths named Nagamitsu who worked from the mid 1200's through the 1940's. The
most famous of them worked in Bizen, although swordsmiths by this name are recorded as
having worked in Satsuma, Yamato, Yamashiro and other locations. Ichihara Ichiryushi
Nagamitsu worked during the Showa Era in the 1930's and 1940's.

It has been established that Nagamitsu was a participant in the first Army Shinsakuto
Exhibition held in 1944, in which he entered under the name of Ichihara Nagamitsu. Nagamitsu
resided in Okayama and is mentioned in the Tosho Zensho by Shimizu which lists him as a
Rikugun Jumei Tosho (Army approved swordsmith) and as a member of the Rikugun Gunto
Gijutsu Tenrankai(3). He was awarded the Kaicho-sho prize at a sword competition held by
Riku-gun Gunto Sho-rei Kai before the war.(6)

Some Nagamitsu blades will have a small, faint "saka" stamp on the nakago or nakago-mune.
This indicates a blade made for the Osaka Rikugun Zoheisho (Osaka Army Arsenal). Several
smiths including Ichihara Nagamitsu, Gassan Sadakatsu, Kawano Sadashige and Kosaka
Masayoshi made blades for the Osaka Rikugun Zoheisho (7).

On May 20, 1984, a Nagamitsu blade was awarded Shinteisho origami by the NTHK(4).
Nagamitsu blades have also received Hozon origami from the NBTHK in Japan (3). This attests
to the high regard that these blades are currently getting in Japan and the fact that they are judged
to be true gendaito.

Swordsman Saruta Mitsuhiro, head of the Musashi Dojo Ryuseika of Osaka, used a blade
made by Ishiryushi Nagamitsu to perform kabutowari (helmet cutting). The blade successfully
cut several centimeters into the iron plate helmut without sustaining significant damage, thus
demonstrating the excellent quality and resilience of Nagamitsu's swords.(5)

It has been thought that Ichihara Nagamitsu and Chounsai Emura were the same swordsmith or
at least that their work was related in some way. It has been speculated that perhaps Nagamitsu
also worked at the Okayama Prison; however, I have not seen nor heard of documentary
evidence to this effect. It is now known, thanks to new evidence developed by Chris Bowen, that
they are totally different and unrelated swordsmiths, but this debate has been a
tale of confusion.

Ichihara Ichiryushi Nagamitsu often carved mei using an unusual style of Kanji
for the "naga" character. "Naga" is usually written with three horizontal strokes to
the right of the top vertical stroke. On many Ichihara Nagamitsu blades the "naga"
Kanji is written with only two horizontal strokes. It is my belief that this is a
"trademark" of Ichihara Nagamitsu and an important kantei point in
distinquishing his blades from those of other swordsmiths who signed Nagamitsu during this
period. However, there are several Nagamitsu blades known signed with a standard "naga" Kanji
which may be a variant and from the same forge as the others (see oshigata "T" and "V"). Much
has yet to be learned about the blades of from the forge of Nagamitsu.
Given the number of variations of signatures (mei) found on Nagamitsu blades, combined with
the quantity of blades known, it seems unlikely that they are all the work of one lone
swordsmith. It is likely that Nagamitsu had a number of students and assistants who also
produced blades at his forge and who signed sword blades on his behalf. Therefore each blade
must be judged on its own merits and not simply on its signature.

There were several other swordsmiths working during the Showa era using the name Nagamitsu.
They signed Noshu (Seki, Mino) Nagamitsu, Kawazaki Nagamitsu, Kuruma ju Nagamitsu,
Takayama Uhei Nagamitsu and Endo Nagamitsu. They are of no known relation to Ichihara
Nagamitsu. There are also several "fantasy" Nagamitsu signatures on Showa era blades. These
fantasy signatures are in imitation of the Koto period Nagamitsu and are of no importance as
they are considered "gimei" (false signatures).

NAGAMITSU OSHIGATA

Below are examples of the known signatures (mei) of Ichihara Nagamitsu. I have shown only the
mei rather than the entire oshigata to save bandwidth and download time. The mei are not to the
scale of the nakago, they have been enlarged or reduced for readability. The translation of the
oshigata are indexed below by letter codes.

 A. Ichihara Nagamitsu (kakihan)

 B. Ichihara Ichiryushi Nagamitsu saku
 C. Ichiryushi
 D. Bizen (no) Kuni (no) ju Ichihara Ichiryushi Nagamitsu saku
 E. Ichihara Ichiryushi Nagamitsu saku
 F. Ichihara Nagamitsu
 G. Nagamitsu
 H. Nagamitsu
 I. Ichiryushi saku (note different carving of characters from "C")
 J. Nagamitsu saku
 L. Bizen (no) Kuni (no) ju Ichiryushi Nagamitsu saku
 M. Bizen (no) Kuni (no) Oite Karasu Jyuka Ichihara Ichiryushi Nagamitsu saku
 N. Bizen (no) ju Ichiryushi Nagamitsu saku
 O. Bizen (no) Kuni ..Karasu.. Ichihara Ichiryushi saku
Made in Bizen Province near Karasu Castle by Ichihara Ichiryushi
Dated December 1943 - (Nagamitsu blades are rarely dated)

 P. Nagamitsu (slightly different strokes from "J" -maybe normal variation?)

 Q. Nagamitsu (another form different from "E" or "P")
 R. Ichiryushi Nagamitsu saku (different rendering of characters from others.)
 S. Ichihara Ichiryushi Nagamitsu saku (different carving from "B")
 T. Nagamitsu (three stroke 'naga')
 U. Ichiryushi saku (different from I or C)
 V. Bizen Kuni ju nin Ichihara Nagamitsu saku
(This is a three stroke "naga" and the "hara" Kanji is carved differently.)
 BLADE DETAILS

Nagamitsu worked in the Bizen tradition. The blades which he made are quite elegant in
proportion and shape. The hamon is generally in suguha, choji-midare or gunome-midare.
There is much "activity" in the hamon. Hada is ko-itame. It is not uncommon to find a serial
number and a small stamp on the nakago-mune of Nagamitsu blades. Oshigata courtesy of Aoi-
Arts, Tokyo.

STYLES OF MOUNTINGS

Nagamitsu blades are found mounted in both standard shingunto mounts and in late 1944 type
(so-called Marine mounts) mounts. Some Nagamitsu blades have recently been mounted in
shirasaya or buke' koshirae by current collectors. Those in late 1944 mounts have saya which are
generally quite dark brown with a slight bark finish to the saya lacquer as opposed to the light
brown, metal saya commonly found on late '44 style gunto. The tsuka of the late '44 style is
usually rough lacquered fiber ito over burlap. Many tsuka have two mekugi-ana (one or both
may be screws). [caution - I have seen folks nearly destroy a tsuka trying to remove the blade
not realizing there were two mekugi or screws.]

The following articles are available: (1) JSSUS Newsletter, August 1982 and (2) JSSUS
Newsletter, Sept 1985.
[NOTE: These two articles were written in the 1980's prior to new information and consider
Emura and Nagamitsu to be the same swordsmith. This is now known to be incorrect.]

Thanks to all who have contributed to the knowledge of Nagamitsu. Special thanks to Philip
Wilsey (1,2), Chris Bowen(3), Richard Fuller, Ron Gregory, Malcolm Cox, Gordon Bailey,
Dic Marxen, Mike Carman, Jinsoo Kim, Mike Axelrod (4), Chris Lau (5), Aoi Arts- Tokyo
(6) and John Slough (7).
 NIHONTO ORIGAMI
(Authentication Papers)

From early Koto times through today, false signatures have been a problem on Japanese swords.
For numerous reasons, the names of famous smiths (mei) have been added to sword tangs
(nakago) of swords which were not made by them. While false signatures (gi-mei) are not a
major problem with gendaito (swords made in the 20th Century), they can be a significant
problem with swords of the Koto, Shinto and Shinshinto periods. It is usually the names of well
known smiths which are forged. Swords by lesser known smiths pose little risk of having false
signatures.

Very few westerners have the expertise to judge accurately whether a signature is authentic or
not. To be reasonably certain as to the maker of a specific sword, it is necessary to submit the
sword for shinsa (judging) by one of the major Japanese sword study associations (NBTHK or
NTHK). These organizations will judge the sword and issue appropriate papers (origami)
attesting to the swords authenticity and/or historical importance. Shinsa are normally held only
in Japan; rarely in the US or elsewhere.

WARNING: There are fake "official" looking origami from fictitious Japanese organizations
which are being sold to make some swords appear legitimate and more valuable.

NIHON BIJUTSU TOKEN HOZON KAI ORIGAMI

The NBTHK (Nihon Bijutsu Token Hozon Kai) has been issuing origami since the 1950's.
They operate the Japanese Sword Museum in Tokyo. The NBTHK shinsa are held only in
Japan. The nature and names of their origami have changed over time. The NBTHK issued the
following types of origami starting in the 1950's.

KICHO (white papers) - "Important Work"

TOKUBETSU KICHO (green papers) - "Extraordinary Work"
KOSHU TOKUBETSU KICHO (blue papers) - "Special Extraordinary Work"
JUYO TOKEN - "Very Important Work"
TOKUBETSU JUYO - "Extraordinarily Important Work"

This ranking scale was changed in the 1980's. The current system of origami includes the
following types of origami.

HOZON - "Worthy of Preservation"

TOKUBETSU HOZON - "Extraordinarily Worthy of Preservation"
JUYO TOKEN - "Very Important Work"
TOKUBETSU JUYO - "Extraordinarily Important Work"
To be awarded Juyo papers a sword normally has first received one or both of the lower grade
origami .
READING NBTHK ORIGAMI

The current NBTHK origami for sword blades all have the same basic seven column pattern (see
the example below).
Reading the columns from right to left, the following information is given:
column one is "Kanteisho" (certificate of authenticity)
column two is the length of the blade (x shaku, x sun, x bu)
column three will start "ichi" then read either katana mei, wakizashi mei, tanto mei or mu mei
depending on the blade.
This is followed by the signature on the nakago or an attribution to the school and/or smith if the
blade is mumei (unsigned)
(attributions are commonly in parenthesis)
columns four and five will read -"This sword has been judged at the NBTHK to be Hozon"
(or Tokubetsu Hozon, Juyo Token or Tokubetsu Juyo depending on the level of origami)
column six is the date of the shinsa
column seven is the NBTHK name and seal
A photograph or oshigata of the nakago is attached at the far left of the origami.

The example of a NBTHK origami shown, courtesy of

Fred Weissberg,
states the following information (reading from right to
left) about the blade:

column 1: Kantei Sho

column 2: length: 1 shaku 6 sun 8 bu
column 3: Wakizashi Mei: Hishu kawachi no kami
Fujiwara Masahiro
column 4,5: This sword has been judged at the
NBTHK to be Tokubetsu Hozon
column 6: Heisei 10, 10th month, 16th day
column 7: Nihon Bijutsu Token Hozon Kyokai (seal)
column 8: photo of nakago

JAPANESE MINISTRY OF EDUCATION ORIGAMI

The following ratings can only be granted by the Japanese Ministry of Education. These ratings
are seen only on items of great artistic, cultural and historical value. Swords with these ratings
are not found outside of Japan.

JUYO BIJUTSU HIN - "Important Art Object"

JUYO BUNKAZAI - "Important Cultural Asset"
KOKUHO - "National Treasure"

NIHON TOKEN HOZON KAI ORIGAMI

The NTHK (Nihon Token Hozon Kai) also issues origami which are held in high esteem.
NTHK shinsa are occasionally held in the U.S. in conjunction with a special sword event. The
NTHK sword rating system includes:

SHINTEISHO - "Genuine Work"

KANTEISHO - "Important Work"
YUSHU SAKU - "Very Important Work"
SAI YUSHU SAKU - "Special Important Work"
 READING NTHK ORIGAMI

The origami issued by the Nihon Token Hozon Kai all follow a basic pattern. The example
below shows a typical NTHK origami and the type of information given in each section.

The example of a NTHK kanteisho origami

shown, courtesy of Ted Slawski, translated by
Cary Condell, states the following information
(reading from right to left) about the blade:

Exterior of Origami

column 1: (origami rating) Kanteisho

column 2: (swordsmith or attribution) Den
Osafune Masamitsu
column 3: (top) Shoshin (genuine);
column 3: (bottom) Nagasa (dimensions of blade)
column 4: Date of Shinsa
column 5: Nihon Token Hozon Kai (seal)

Interior of Origami

column 1: Origami No. 14192

column 2: Meibun: Suriage mumei
column 3: Kitae: Mokume
column 4: Hamon: Gunome choji midare
column 5: Boshi: Midare-komi
column 6: Chokoku (engraving) blank (none)
column 7: Nakago: One mekugiana / Yasurime:
Katte sagari
column 8: Biko (remarks: province/era) Bizen no
Kuni, Oei goro
column 9: Appraisers seals
column 10: Oshigata of nakago with seal

NBTHK - NTHK Origami Comparison Chart

The NBTHK and NTHK tend to stress slightly different qualities in judging a sword. The
NBTHK tends to judge rarity and historical importance as major factors whereas the NTHK
judges condition of the sword as the primary factor. A sword to be submitted for shinsa should
be in good to excellent polish; the higher the rating applied for, the better the polish must be.
There are also various privately issued origami done by recognized Japanese scholars and
individual sword authorities. These can be beneficial in authenticating a sword, but are not
usually held in the same esteem as those by the NBTHK or NTHK. Both the NBTHK and the
NTHK also issue origami for tsuba (sword guards), kodogu (fuchi-kashira or menuki) and
koshirae (full mountings) using the same rating scale.
 FUJISHIRO SWORDSMITH RATINGS

While not origami, the Fujishiro system of rating

swordsmiths is widely used by collectors and students
of Nihonto. It is based on the two volume set, Nihon
Toko Jiten, by Matsuo Fujishiro. Fujishiro rated smiths
of the Koto, Shinto and Shinshinto eras. This rating
system applies to swordsmiths, unlike the NBTHK and
NTHK origami which are awarded to a specific sword
blade. In the Fujishiro rating system, the swordsmiths
are rated:

Chu Saku - "Average Made"

Chu Jo Saku - "Above Average Made"
Jo Saku - "Superior Made"
Jo Jo Saku - "Above Superior Made"
Sai Jo Saku - "Most Superior Made"

Fujishiro lists only the better swordsmiths of each era;

thus any rating by Fujishiro is considered good. The
Fujishiro books also show documented signatures (mei) of many of the swordsmiths listed, thus
the books are widely used to compare swordsmith signatures (mei) for the purpose of
authentication. Fujishiro also issues personal origami for sword blades (see right; oshigata for
blade by Minamoto Yoshichika courtesy of Ron Polansky.).

NIHON TOSOGU BIJUTSUKAN ORIGAMI

The NTB (Nihon Tosogu Bijutsukan) was an
organization dealing primarily with sword fittings (tosogu
or kodogu) - tsuba, fuchi/kashira, menuki and full
koshirae. The NTB operated a museum, now closed, in
Tokyo dedicated to the study and preservation of sword
fittings. They also issued origami for swords. Even
though the NTB is no longer functioning, its origami are
still held in high esteem. The NTB rating system was:
Bunka Shiryoo - "Cultural Item"
Tokubetsu Bunka Shiryoo - "Worthy Cultural Item"
Yushu Bunka-zai - "Important Cultural Item"

TOEN SHA ORIGAMI

This organization was founded and operated by Murakami Kosuke sensei, a student of Hon'ami
Koson, and once a member of the NBTHK Juyo Shinsa. The organization issued several levels
of papers which are quite highly regarded. When Murakami sensei passed away some years ago
the group disbanded. (Information courtesy of Arnold Frenzel)
 JAPANESE HISTORICAL AND SWORD ERAS

The development of the Japanese sword closely parallels events in Japanese history. The broad
divisions of each are noted above. The specific historical eras are referred to as "nengo" and are
named after the emperor of the period. The sword eras have separate notations: Koto refers to
the "old sword period"; Shinto refers to the "new sword era"; Shinshinto is the "new, new sword
era"; Gendai or Kindai is the "modern sword era" while Shinsaku refers to newly made swords.

NOTE: Exact dates may vary in different texts since Japanese eras (nengo) do not exactly match
Western calendar years. References will differ on the dates of the division between Shinshinto
and Gendai. Some authors date from the Meiji Reformation of 1868 while others date from the
Haitori Edict of 1876 which banned the wearing of swords and eliminated the samurai class.

Learn how to read the Kanji for the various Nengo on the reading date inscriptions page.
 DATE INSCRIPTIONS - NENGO

Japanese swords have been made for over a thousand years. Many swords are inscribed with the
date they were made. Swords with date inscriptions prior to 1200 C.E. are extremely rare;
therefore those nengo have not been included. The inscriptions normally read from the top down,
nengo (period); nen (number of years into the period); gatsu (month) and hi (day). A typical
date inscription would read: "18th year of Showa, 2nd month, 8th day". To arrive at the
corresponding Westernized calendar year, add the number of years into the period to the starting
year of the period. During much of the 1300's, the Japanese Imperial Court was politically
divided into the Southern Court and Northern Court. Most swords will have dates using the
nengo of the Southern Court, but occasionally one will be encountered where the Northern Court
nengo are used. There are other methods of writing dates, but the use of nengo is by far the most
common. During the WW II era, some swords were dated using the archaic zodiacal dating
method.

JAPANESE NUMBER KANJI

Feel free to print and/or save these Kanji pages for personal, offline use.
Attempting to decipher a mei by matching Kanji takes a lot of time!!
JAPANESE NENGO CHARTS
 Koshirae: Nihon Token Gaiso
The Mountings of Japanese Swords
by
C. U. Guido Schiller

A Brief History of the Development of Koshirae

Koshirae derives from the verb "koshirareru", which is no longer in use nowadays. Usually
"tsukuru" is used instead; both mean "make, create, manufacture". More accurate is actually
"Toso", which means sword-furniture: "Tosogu" are the parts of the mounting in general, and
"Kanagu" stands for those made of metal. "Gaiso" are the "outer" mountings, as opposed to
"Toshin", the "body" of the sword.

Nihonto are classified by length and koshirae and the combination of both. Swords over 2 shaku
(1 shaku = 30.3 cm, or about 1 foot) from tip to munemachi (notch where the tang starts) are
daito, from 1 to 2 shaku are shoto, and under 1 shaku are tanto. The usual daito are the katana
and tachi; shoto are mostly wakizashi, and there is an infinite variety of tanto. Borderline cases
are kodachi (tachi shorter than 2 shaku) and O-wakizashi (wakizashi of *almost* 2 shaku).
Women used to carry a tanto in the Edo period in a "brocade bag" in their obi; this tanto for self-
defense was called kaiken.

The first swords made of steel were imported from China, and had Chinese mountings. The
koshirae prototypes of purely Japanese design developed during the Nara period (646 ~ 794
AD), although they were still called "Kara-tachi", i.e. Chinese tachi. Only a few survived time,
but there seemed to have been two types: swords in black lacquered wooden mountings for
actual combat, and those richly decorated with semi-precious stones and fancy lacquering.
Rayskin was used on the handles from time to time, but only became common during the Heian
period (794 ~ 1185 AD). Swords of that time were called "Kazari-tachi" (decorative tachi) or
"Hoso-tachi" (narrow tachi), already adjusting in blade construction to Japanese taste and usage.
They were luxuriously mounted, and meant for use by the palace guard at the imperial court.
Later on they became a little bit simpler with a "Shitogi-tsuba" (rice cake tsuba), renamed "Efu-
tachi", and were still in use during the Edo period by imperial guards and high ranking officials.

Another interesting sword is the "Kenukigata-tachi" (hairpin tachi), and there is much
speculation about its usefulness. Since it has a forged handle, it must have been pretty tiresome
to use, although there are some examples with battlemarks. But it is believed that it served
mostly decorative purposes, or as presents to shrines to celebrate a happy occasion. Most
fighting swords were pretty sombre with mountings in black lacquer or covered with leather
(Kawazutsumi-tachi). At the end of the Heian period and the following Kamakura period (1185
~ 1336 AD), the "Hyogo-Kusari-tachi" was very popular. It was named after the chain-hangers,
and usually was covered with metal foil.

The first "Itomaki-no-tachi" were used in the Nambokucho period (1336 ~ 1392 AD). They had
tsukamaki as well as sayamaki, i.e. there was wrapping at the upper part of the saya to prevent
damage from rubbing against the armor. The itomaki-tachi became the tachi of choice for the
following centuries for use in battle. Sometimes the lower part of the saya had a cover made of
fur to protect it from the elements, which was called "shirizaya" (butt saya).

Although the "uchigatana" (lit. "strike-sword") already had its predecessors in the Heian period,
it became standard for foot soldiers during the Nambokucho period. Unlike the tachi, which was
carried edge down, and had two obitori (hangers) on the saya, the uchigatana is worn through the
sash, edge up.

Tachi were still produced during the Muromachi period (1392 ~ 1573 AD), but the uchigatana
became the most common daito. Kanagu other than the tsuba, up until now made from yamagane
("mountain metal", unrefined copper), was often made from shakudo, copper with 5% gold,
patinated a deep black. Uchigatana still looked very much like tachi except for the obitori, and
therefore were called "handachi", half-tachi; this style never really went out of fashion during the
next 300 years.

Since the early Muromachi period, the manufacture of tsuba became a separate profession; until
then, tsuba were forged by swordsmiths, armorsmiths or Kagamishi, mirror smiths (polished
disks of metal were used as mirrors). Early tsuba had sukashi, cut-outs in negative silhouette, but
from now on brass inlays and positive silhouette sukashi, especially from Owari province,
became more refined. The Shoami family became one of the main manufacturers of tsuba, with
many generations to follow.

The Momoyama period (1573 ~ 1603 AD) is well known for its flamboyant koshirae with red
lacquered saya and kanagu in gold. Those flashy mountings however were counterbalanced by
Tensho-Koshirae (era name of emperor Tensho, 1573 ~ 1586 AD) with black saya and same', a
tapered tsuka with leather binding crossed over a kashira made of horn.

Part of the tsubashi from Kyoto moved to Akasaka in Edo, and produced many fine sukashi
tsuba. The Myochin family switched from manufacturing armor to making tsuba. Echizen
province tsuba were dominated by the families Akao, Nagasone and Kinai; the Kinai had from
their second generation on a special relationship with Echizen Yasutsugu, the Shogun's favorite
smith. They not only carved the dragon horimono for his swords, but also the Aoi-no-Gomon,
the family crest of the Tokugawa, on the tang of his swords. Both motifs are also very often
found on their tsuba.

In Higo province the tosogushi were encouraged by the Hosokawa Daimyo, and worked in iron,
copper, brass and cloisonne. The characteristics of Higo koshirae are the rounded kashira and
kojiri; the same' is often black, and the saya in samenuri - the "valleys" in the same' filled with
lacquer, and the "mountains" polished flush. Tsuka had often a leather wrapping. This kind of
koshirae was later copied as "Edo-Higo-Koshirae", but mostly with simpler saya and natural
colored same'.

After Tokugawa Ieyasu moved to Edo, many artists set up their workshop there. In the Edo
period (1603 ~ 1868 AD) the Goto family, which already had worked for the Ashikaga, almost
dominated sword fittings, especially for the daisho. This combination of katana and wakizashi
became the standard for samurai during the Momoyama period.

As with many other things, wearing of swords was regulated. For example, in Genna 9 (1624
AD), red saya, swords over 2 shaku and square tsuba were prohibited. Commoners weren't
allowed to wear swords at all.
Samurai at the castle in Edo wore the Banzashi daisho, "duty attire". Same' had to be white, the
saya black lacquered and with horn fittings. The kojiri of the katana was flat, and that of the
wakizashi rounded. The kashira had to be horn, with the black tsukamaki crossed over it
(kakemaki). The fuchi and midokoromono ("things of the three places": menuki, kogai and
kozuka) had to be shakudo-nanako (fish-roe pattern) with the only decoration being the family
mon (crest). The tsuba was polished shakudo without any decoration. However, this was not
always strictly enforced, and kanagu with shishi (lion dogs), dragons or floral motifs were
tolerated.

Samurai had to wear the "Kamishimozashi" when on official duty, with the "Kataginu" wing
shoulders and "Hakama" split skirt trousers, while Kuge (court nobles), Daimyo and other high
ranking officials were clad in the Hitatare court attire with Eboshi-hat, with a wakizashi at their
hip. This was either an aikuchi ("meeting mouth", i.e. without tsuba) or hamidashi (a very small
tsuba) in dashizame, or hilt covered in same' without tsukamaki. This short sword didn't have a
mekugi to fasten the hilt to the tang, which rendered it impractical, because the wearer wanted to
show that - due to his high rank - he didn't have to use it anyhow. Besides, it was a serious
offense to draw a sword at court, as anybody who read or watched "Chushingura", the 47 Ronin,
would know.

Bronze, copper and brass were widely used with "regular" swords, as well as the alloy shibuichi
("one quarter", 75% copper and 25% silver) Those soft metals were called "kinko"
(gold/precious metal work) as opposed to iron mountings. Pure silver mountings are quite rare,
as are pure gold mountings, which were banned in 1830.

Yokoya Somin left the Goto school, which only worked with shakudo, and invented
"katakiribori", engravings with a triangular chisel. In Nara, the Nara-Sansaku ("three makers
from Nara") (Nara Toshinaga, Sugiura Joi, and Tsuchiya Yasuchika) became famous with
sunken relief.

Yagyu tsuba developed from Owari tsuba, so called after the Yagyu family, fencing instructors
for the Shogun. Typical Yagyu koshirae has a ribbed saya, and the menuki are at reversed
positions of regular menuki placement.

At home samurai put their daisho on a double-rack, edge up, katana on top, tsuka to the left.
Actually they were greeted at the entrance of the house by their wives, who carried the swords
after pulling the sleeves of their kimono over their hands in order to not touch the swords with
their bare skin. They then put a tanto into their sash, which was not subject to any restrictions,
and was often lavishly decorated.

Although commoners weren't allowed to carry any swords, some of them, especially rich
merchants, showed off their wealth by sporting expensive tanto, walking a very thin line between
status symbol and severe punishment. Physicians wore tanto made of solid wood, and firefighters
sometimes had a tanto with a saw instead of a blade.

On July 18, Shoho 2 (1645 AD), the ban of wearing swords was reduced to swords over 1.8
shaku, if one obtained a permit. This enabled travelers on the Tokaido road to arm themselves
against robbers which were encountered quite frequently in unpopulated areas, and also enabled
the chief of police of Edo to arm the "Okappiki", non-samurai police.

The end of the Edo period is called "Bakumatsu", and brought many changes to the samurai
class. Some already tried western clothes, and wore "Toppei koshirae" swords, also called zubon
(trousers) koshirae, which had no tsukamaki and a softly rounded kojiri. In 1871 everybody was
allowed to carry a sword or to wear their hair "Chonmage", samurai topknot. Kirisute-gomen
was prohibited, which was the unpunished slaying of a non-samurai for a (real or imagined)
insult. But the Haitorei edict, which took effect on January 1, 1877, limited the right of carrying
swords to the military and police. Most swords concealed in a cane or walking stick are made
shortly after this edict.

Swords of the Meiji (1868 ~ 1912 AD) and Taisho (1912 ~ 1926 AD) period were fashioned
after French and German military sabers, and only the gunto (military swords) after 1933 saw a
renaissance of Japanese design.

Koshirae of Special Interest

Nodachi

During the Kamakura and Nambokucho period, tachi of extended length were sometimes used
on the battlefield. Those swords certainly had an intimidating effect on the enemy, but their
usefulness is highly questionable since they were very awkward to handle. Most were of very
low quality.

Chiisagatana

Chiisagatana, lit. "short katana", are shoto mounted as katana. Now, one could argue that
wakizashi are shoto which are mounted in a similar way to katana, and that's absolutely correct.
But we're talking here about the predecessors of the daisho, the formal katana/wakizashi pair. In
the transitional period from tachi to katana, katana were called "uchigatana", and shoto were
referred to as "koshigatana" (hip-sword) and "chiisagatana", in many cases quite longer than the
later "standard" wakizashi.

One can't make out the difference between wakizashi and chiisagatana by blade alone, although a
Koto shoto close to 2 Shaku (like the above mentioned O-wakizashi) would be a good indication;
it depends on the mountings. Chiisagatana are the early shoto type with koshirae not easily
distinguishable from the uchigatana, just shorter, but in any case with a tsuba (another term for
chiisagatana is "tsubagatana", "sword with tsuba", as opposed to aikuchi). The ban of carrying
swords for non-Samurai wasn't in effect yet, so people from all runs of life, who preferred
shorter blades, would have chosen the chiisagatana/ koshigatana/ O-wakizashi/ tsubagatana.

Daisho

As already mentioned, a daisho (lit. "big/small") is the katana/wakizashi or katana/tanto pair that
was one of the outer attributes of the samurai. Most daisho were mounted en suite, but actually
any combination of a short and a long sword is considered a daisho; and it is either a wakizashi
or a tanto together with the katana, never both.

Ninjato

Actually, there is no such thing as a special purpose ninja sword, although Hollywood and Toei
filmstudios want to make us believe that. But neither ninja nor "Onmitsu Doshin", the
undercover agents of the Edo police, had a "standard" short sword with a straight blade, square
tsuba and black fittings.
Present day SWAT teams and military commandos use special or modified weapons to suit their
task, and so did assassins and spies of the Edo period. A shorter sword slung over the back might
have proven useful for penetrating a castle and combat in confined spaces, but different
situations would have called for a different sword. "Ninjato" has a nice ring to it, but the "sword
shopping guide for spies" has yet to be discovered ...

General Remarks on Koshirae and Placement of Fittings

When restoring an antique sword, or mounting a newly made shinsakuto for the first time, it is
often difficult to make a choice in regard to the style and color of the tsukamaki, the saya, and
the proper placement of the fittings. Although it's basically a matter of personal taste, there are a
few rules concerning selection and placement of koshirae.

Generally speaking, "up" and "front" of fittings would be as viewed from the side, or the tip of
the tsuka, when the sword is held horizontally, sword edge down in case of a tachi and edge up
for any other sword/dagger.

Tsuka

There are four basic shapes of tsuka:

1. "Haichi Tsuka", the most common, the mune-side almost straight, the ha-side slightly tapered,
following the lines of the sword
2. "Rikko Tsuka", almost hour glass shaped
3. "Imogata" ("potatoe shape"), both sides straight
4. "Morozori", closely following the shape of the saya, mostly with tachi/ handachi

The length of the tsuka was usually tailored to the individual swordsman's specifications. As a
rule of thumb, the length of the handle of a katana is twice the width of the hand plus two
fingers, the wakizashi 1.5 hand widths and the tanto one hand width. Average length of a katana
tsuka used to be 8 sun (24 cm or 9.5 inches).

Tsukamaki

It is not historically proven, but traditional Kabuki and Chambarra (period movies) indicate the
rank of a samurai by the color of the tsukamaki: black - blue - dark brown - light brown - gray -
purple - white. However, since this approximates roughly the percentage of colors found on
swords, it might be about right.
The most common wrapping method is "Tsumamimaki", the ito "pinched" at the crossing,
followed by "Hinerimaki", where the ito was folded over twice at a 90 degree angle at the
crossing. Tachi were usually done in "Hiramaki", the ito simply crossed over.

Mekugi

The Mekugi is made from seasoned bamboo, convex shaped, and inserted from the side of the
tsuka that is covered by the palm. Bamboo is strong yet elastic, and even if the mekugi breaks,
the tough fibers will prevent the blade from slipping out of the handle. Sometimes horn or metal
was used instead of bamboo, but usually not on swords intended for fighting.

Menuki

Menuki were originally used to cover the mekugi pin that fastens the handle to the tang. Later on
they became purely ornamental, and were placed about one hands width from the fuchi on the
omote (outward side) and the kashira on the ura (side facing the body) on tachi. However, when
the uchigatana was "invented", the placement wasn't changed for traditional reasons, although
the sword was now worn edge up and in effect resulted in a reversed position of the menuki.

An additional benefit of the menuki placement of tachi was the better grip on the tsuka, since the
menuki filled the gap in the palm of the hand. But "Gyaku-Menuki", or "anatomically correctly"
placed menuki were almost only used on Yagyu koshirae.

That menuki became more or less decorative elements of the tsuka is evident on tanto (and to a
lesser degree on wakizashi). On the short handle of a tanto they were almost opposite of each
other, and sometimes even omitted.

Tsuba

Sometimes it might be difficult to determine the front (i.e. facing away from the body) and back
side of a tsuba. If the tsuba has a kozuka hitsu or kogai hitsu (slots for kozuka and kogai), the
one for the kozuka is always to the left and the one for the kogai always to the right. The mei
(inscription) of the maker is usually on the front, but there are sometimes exceptions. In most
cases the more decorated side is the front side. If it is an undecorated tsuba, or a sukashi tsuba,
without any slots, the side showing more wear is probably the front.
The average diameter of a katana tsuba, measured at the widest part, seldomly exceeds about 7.5
cm or 3 inches.
Bibliography

Although there are countless books on swords and sword fittings, only a very few were
published on Koshirae, and to my knowledge not a single one in English. The following books
are Zukan ("illustrated books"), with many photographs of Koshirae:

A classic is "Zukan: Toso no Subete" by Kokubo Kenichi. In Japanese, but with many Furigana
(Kana readings of the Kanji), price used to be Yen 2,300, but now out of print.

A pretty recent publication is "Toso-Hen", a book in a series on artwork of the Tokyo National
Museum (English title: Illustrated Catalogue of Tokyo National Museum - Sword Mountings). In
Japanese, but with an English list of the plates, Yen 5,238.

Almost an encyclopedia of the Japanese sword and its mountings is "Zukan: Nihonto Yogo
Jiten", which has a supplement "Nihonto: Swords of Japan, a Visual Glossary" with English
translations. Published privately by the author Kotoken Kajihara, Yen 35,000

(For buying books on Japanese (and other Asian) art, I recommend the "Paragon Book Gallery"
in Chicago. Good selection, reasonable prices, fast and friendly service. They have a very good
website with online store: www.paragonbook.com)

January 2000
 Japanese Sword Mountings

It has been said that the Japanese sword was the soul of the Samurai. If this is indeed the case then,
undeniably, the blade is also the soul of the Japanese sword. All other parts may be considered as
secondary to the blade, but on a well mounted sword, the fittings compliment, enhance it and allow the
blade to be actually used. A full set of mounts, not including the blade, is known as the Koshirae. The
individual constituents of the Koshirae, which include Kodogu (metal mountings)Tsuka and Tsukamaki
(hilt and hilt wrap) the Habaki and the lacquering and construction of the Saya (scabbard) are all
collaborations between different artist and artisans with their individual specialities, whilst the Katana
Kaji (swordsmith) and Togishi (polisher) work on the blade itself. These notes will briefly describe the
various types of Koshirae some of which are dictated by the size of the blade.

Daito (long swords)

Uichigatana Koshirae:

the Daito may come in a number of different types of Koshirae, regardless of the what type of
blade it may be (Tachi or Katana). Of these, probably the most familiar is the Uichigatana or
Katana Koshirae. This, if you like, is the definitive "Samurai sword". Usually, the Saya will have
no metal mounts but an infinite variety of lacquers may be used to decorate it. The lacquer has
the added advantage of being resistant to water or damp and so, as in many Japanese art forms,
it has a practical as well as decorative function. The Saya will also have a Kurigata (retaining
&quothook") on the Omote side (which is sometimes metal) and is worn tucked through the Obi
with the cutting edge uppermost, familiar to all practitioners of Iaido. The Koshirae will be
complete with a Tsuba and Tsuka which will have Fuchigashira and Menuki, variously decorated.

Tachi Koshiarae:

Unlike the Katana described above. The Tachi was worn with the cutting edge down and was
originally an ancient style designed for combat whilst mounted on horseback. The Tachi's Saya
will have metal mounts (various rings, a chape and hanging devices) the design or decoration of
which, is usually repeated on the Tsuba and Tsuka. Frequently the top 1/ 3rd of the Saya will be
wrapped in the same manner as the Tsuka and this Koshirae is known as Ito-maki Tachi Koshirae
(thread wrapped). Most extant examples of this style would have been for formal dress during
the Edo period but there are 20th century examples around, usually with brass mountings and
of lower quality.

Han-dachi Koshirae:

A style of Koshirae which is a mixture of both the Uichigatana and Tachi Koshirae, is known as
Han-dachi (half Tachi). Very popular during the Bakamatsu (end of the Edo period) this is worn
in the style of Katana and not Tachi, but would retain a number of the metal Saya mounts and
would also have a Kurigata.

Chisai-Katana:
 As the name implies (small Katana) this Koshirae differs only from the regular Katana by virtue
of its size. Although some are said to have been made for one handed combat (Katate-mono)
many were also made for the affluent merchant class who were subject to restrictions on the
size of weapons they were allowed to wear. Such swords are often very richly mounted and the
Sayas are ornately lacquered reflecting the ostentatious and wealthy nature of their owners,
which contrasted to the more subdued (ideally) and restrained taste of the Samurai class.

Shoto (short swords and daggers)

Wakizashi-Koshirae:

The Wakizashi was designed as the Shoto that accompanied the Daito in the matched pair of
swords known as the Daisho (Daito + Shoto = Daisho). The two blades of a Daisho might
occasionally be by the same maker, but the Koshirae would always be an obvious, though not
necessarily exact, matched pair. Often Daisho have been split up and it is a collector's dream to
reunite the two swords of a Daisho (I have done this). Slots to accommodate the small Ko-
gatana (auxiliary knife) or Kogai (a kind of skewer) are often found near the top of the
Wakizashi's Saya and, rarely, these may also be found on Katana-koshirae. The
Wakizashikoshirae, therefore, is only different to the Katana or Han-dachi Koshirae, by virtue of
size.

Tanto-koshirae:

The Tanto or dagger might be worn as part of a Daisho instead of the Wakizashi, in which case
the mounts would be in sympathy with those of the Daito. There are three basic types of Tanto
Koshirae which might all contain similar types of blades.

a) Tanto: with a normally formed (but obviously smaller) Tsuba, all the normal Tsuka
mounts and a lacquered Saya. They might also accommodate the Kogatana in the same
manner as a Wakizashi.

b) Hamidashi Tanto: similar to the above but often slimmer overall and with a Tsuba
that has most of one side cut away usually to make room for the top of the Kogatana.

c) Aikuchi Tanto: with no Tsuba at all, the Fuchi is flush with the Koi-guchi and the
name means "close fitting mouth". Very often the Tsuka will have no Itomaki (thread
wrapping) and the Menuki will be fixed directly onto the Same which covers the Tsuka.
This style was originally designed for wearing with armour.

Shira-Saya:
Finally, all lengths of swords might be found in Shira-saya. This is a storage rather than a practical mount
and is plain, undecorated wood. In olden days a rich Daimyo or Samurai might have several different
sets of Koshirae for one blade and would keep it in a Shira-saya when not being used (the Koshirae
would be kept with a wooden blade, known as Tsunagi). The Shira-saya is undecorated except that
sometimes an appraiser may brush an attribution onto the Saya.

Nowadays, when a sword is sent off for polishing, it will be returned in Shira-saya and if it has a
Koshirae a Tsunagi would be made for it. Sadly, it is not possible in this situation, to return the
blade to the Koshirae which may have traces of dirt that will damage the polish. A good Shira-
saya also has the advantage of being almost airtight, limiting the blade's exposure to dampness
and lowering the risk of it rusting.

The above are the most commonly encountered Koshirae. I have omitted the Tachi variations
such as Efu-no-tachi and Hoho-no-tachi as well as the Shin-gunto or modern army sword, which
is modelled on the Tachi anyway. These are unlikely to be encountered by the average Kendo or
Iaido student.
 JAPANESE SWORD COMPANY LOGOS
OF THE WORLD WAR II ERA

These sword company logos were collected by Chris Bowen (used with his permission) from
advertisements placed in war era sword publications. The following logos were used by various
sword shops, koshirae makers, and gunto factories during WW II. These marks have been found
on stickers on war era iai-to, and sometimes on gunto koshirae. Some of these logos belonged to
sword shops that merely sold gunto; they didn't manufacture them themselves.

Shirakiya Guntobu
Located in Tokyo. They provided koshirae for
gunto, and claimed in their ad that their
swords would absolutely beat the English and
American forces.
Nakano Shoten
Located in Tokyo. This company was owned
by Mr. Nakano. In addition to Tokyo, the
company had shops in China. The company
provided a full range of koshirae.

Seki Hyaku Tan Sha Token Sei Saku Jo Suya Sho Ten

This company was located in Seki city. They
offered a complete line of services, including
old blades, newly made gunto, polishing, and
koshirae. They also made gunto.
Located in Tokyo. This company was used by
the Suikosha, or Navy Supply Center. The
company made gunto koshirae. The owner of
the company was Mr. Shimada. This company
started back in the Meiji era and had a long
history of making koshirae, including those
for members of the Imperial family and many
high ranking officers and diplomats.
 This mark was used by a shop in Aizu
Wakamatsu owned by Mr. Ozawa. The shop
Kamikodo Tokenya offered gunto koshirae, shirasaya, and togi
services.
This shop was located in Tokyo. They offered
kodogu, polishing, and provided gunto
koshirae. The shop was run by Okuda
Masami, a member of the well-known Butoku
Kai and a kendo sensei.

Tsunemitsu Kosaku Jo

Located in Kofu city, Yamanashi Prefecture.

They manufactured koshirae, and had a long
history of making sword related items.
Shokendo Guntoya

Located in Yokosuka, Kanagawa Prefecture.

Offered blades, army and navy gunto,
polishing, shirasaya, tsukamaki, repairs, etc.
Owned by Mr. Yamaguchi.

Noshu Nihonto Tanrenjo

Located in Seki city. The company was

owned by Mr. Hara. The company made both
tradtionally made swords and sunobe gunto.
They also manufactured army and navy
Gunto Sei Saku Jo koshirae, offered repairing and polishing, and
shirasaya.
Located in Tokyo. The company was owned
by Mr. Matsuyama. This firm made koshirae
for both army and navy, as well as koshirae
for police, diplomatic, and ceremonial uses.
 Sugimoto Tokenya
Located in Tokyo. Provided gunto, various
sword related services. They mention in their
ad that they carry an alumite gunto saya
koshirae.
Yamamoto Guntoya
Located in Tokyo. This company provided
gunto for the war effort.
Wakasei Seisaku Jo
Located in Tokyo. They made army and navy
koshirae. They won a Minister of the Navy
Award in the koshirae section of the Shinsaku
Tenrankai.
Shoheikan Gunso Kabushiki Gaisha
This company made army and navy koshirae.
They also advertise a wood saya gunto
koshirae. The company was located in Tokyo
and owned by Mr.
 JAPANESE SWORD GLOSSARY
For pictorial examples of many of the following terms also see:
VISUAL SWORD GLOSSARY
SWORD BLADE TERMINOLOGY
SWORD TANG TERMINOLOGY

AIKUCHI - a tanto with no tsuba (guard)

AOI - hollyhock, commonly used as a Mon
ARA-NIE - coarse or large nie
ASHI - legs (streaks of nioi pointing down toward the edge)
ATOBORI - horimono added at a later date
ATO MEI - signature added at a later date
AYASUGI - large wavey hada (grain)

BAKUFU - military government of the Shogun

BO-HI - large or wide groove
BOKKEN - wooden sword for practicing sword kata
BONJI - sanskrit carvings
BO-UTSURI - faint utsuri
BOSHI - temper line in kissaki (point)
BU - Japanese measurement (approx 0.1 inch)
BUKE - military man, samurai
BUSHIDO -the code of the samurai

CHIKEI - dark lines that appear in the ji

CHISA KATANA - short katana
CHOJI - clove shaped hamon
CHOJI OIL - oil for the care of swords
CHOJI-MIDARE - irregular choji hamon (temper line)
CHOKUTO - prehistoric straight swords
CHU - medium
CHU-KISSAKI - medium sized point (kissaki)
CHU-SUGUHA straight, medium width temper line

DAI - great or large

DAI-MEI - student smith signing his teacher's name
DAIMYO - feudal lord
DAISHO - a matched pair of long and short swords
DAITO - long sword (over 24 inches)

FUCHI - collar on hilt

FUCHI-KASHIRA - set of hilt collar (fuchi) and buttcap (kashira)
FUKURA - curve of the ha or edge in the kissaki (point)
FUKURE - flaw; usually a blister in the steel
FUKURIN - rim cover of a tsuba
FUNAGATA - ship bottom shaped nakago
FUNBARI / FUMBARI - much taper of the blade from the machi to the kissaki
FURISODE - shape of sword tang that resembling the sleeve of a kimono

GAKU-MEI - original signature inlaid in a cut-off (o-suriage) tang

GENDAITO - traditionally forged sword blades by modern smiths
GIMEI - fake signature (mei)
GIN - silver
GOKADEN - the Five Schools of the Koto period
GOMABASHI - parallel grooves
GUNOME - undulating hamon
GUNOME-MIDARE - irregularly undulating hamon
GUNTO - army or military sword mountings
GYAKU - angled back, reversed

HA - cutting edge
HABAKI - blade collar
HABUCHI - the line of the hamon
HADA - grain in steel, pattern of folding the steel
HAGANE - steel
HAGIRE -edge cracks in the hamon (fatal flaw)
HAKIKAKE -broom swept portions in the boshi
HAKO BA - box shaped hamon
HAKO-MIDARE - uneven box shaped hamon
HAKO-MUNE - square shaped blade back
HAMACHI - notch at the beginning of the cutting edge
HAMIDASHI - tanto or dagger with a small guard (tsuba)
HAMON - temper pattern along blade edge
HANDACHI - tachi mountings used on a katana or wakizashi
HATARAKI - activities or workings within the hamon or temperline
HAZUYA - finger stones used to show the hamon and hada
HI - grooves in the blade
HIRA-MUNE - flat blade backridge
HIRA-TSUKURI / HIRA-ZUKURI - blade without a shinogi (flat blade)
HIRO-SUGUHA - wide, straight temper line (hamon)
HITATSURA - full tempered hamon
HITSU / HITSU-ANA - holes in the tsuba for the kozuka or kogai
HO - kozuka blade HONAMI - family of sword appraissers
HORIMONO - arvings on sword blades
HOTSURE - stray lines from hamon into the ji

ICHI - one or first

ICHIMAI - one-piece sword construction
ICHIMAI BOSHI - point area (kissaki) that is fully tempered
IHORI-MUNE - peaked back ridge
IKUBI - boar's neck (a short, wide kissaki)
INAZUMA - lightning (a type of activity in the hamon)
ITAME - wood grained hada
ITO - silk or cotton hilt wrapping
ITOMAKI NO TACHI - tachi with top of saya wrapped with ito
ITO SUGU - thin, thread like hamon

JI - sword surface between the shinogi and the hamon

JI-GANE - surface steel
JI-HADA - surface pattern of the hada
JINDACHI - tachi
JI-NIE - islands of nie in the ji
JIZO BOSHI - boshi shaped like a priest's head
JUMONJI YARI - a yari with cross pieces
JUYO TOKEN - highly important origami for sword by NBTHK
JUZU - hamon like rosary beads

KABUTO - helmet
KABUTO-GANE - tachi style pommel cap
KABUTO-WARI - helmet breaker
KAEN - flame shaped boshi
KAERI - turnback (refers to the boshi at the mune)
KAI GUNTO - naval sword
KAJI - swordsmith
KAKIHAN - swordsmiths or tsuba makers monogram
KAKU-MUNE - square back ridge
KAMIKAZI - divine wind
KANJI - Japanese characters
KANMURI-OTOSHI - backridge beveled like a naginata
KANTEI - sword appraisal
KAO - carved monogram of swordsmith on tang (nakago)
KASANE - thickness of blade
KASHIRA - sword pommel or buttcap
KATAKIRI - sword with one side flat (no shinogi)
KATANA - sword worn in the obi, cutting edge up
KATANA KAKE - sword stand
KATANA-MEI - signature side that faces out when worn edge up
KAWAGANE - skin or surface steel
KAZU-UCHI MONO - mass produced swords
KEBORI - line carving done on sword mounts
KEN - straight double edged sword
KENGYO - triangular or pointed nakago-jiri
KESHO YASURIME - decorative file marks on nakago
KIJIMATA - pheasant thigh shaped nakago
KIJIMOMO - pheasant leg shaped nakago
KIKU - chrysanthemum
KIKUBA - chrysanthemum temperline (hamon)
KIN - gold
KINKO - soft metal sword fittings (not iron)
KIN-MEI - gold inlay or gold lacquer appraiser's signature
KINZOGAN MEI - same a kin-mei
KINSUJI - golden line (type of activity in hamon)
KINZOGAN-MEI - attribution in gold inlay on nakago
KINSUJI - whitish line along hamon
KIRI - paulownia
KIRI HA - flat sword with both sides beveled to the edge
KIRI KOMI - sword cut or nick on the blade from another sword
KISSAKI - point of blade
KITAE - forging
KIZU - flaw
KO - old or small
KOBUSE - blade constructed with hard steel around a soft core
KO-CHOJI - small choji hamon
KODACHI - small tachi
KODOGU - all the sword fittings except the tsuba
KOGAI - hair pick accessory
KOIGUCHI - the mouth of the scabbard or its fitting
KOJIRI - end of the scabbard
KOKUHO - national treasure class sword
KO-MARU - small round boshi
KO-MIDARE - small irregular hamon
KO-MOKUME - small wood grain hada
KO-NIE - small or fine nie
KO-NIE DEKI - composed of small nie
KOSHIATE - leather suspensors (hangers) for a sword
KOSHIRAE - sword mountings or fittings
KOSHI-ZORI - curve of the blade is near the hilt
KOTO - Old Sword Period (prior to about 1596)
KOZUKA - handle of accessory knife
KUBIKIRI - small tanto for cutting the neck or removing heads
KUNI - province
KURIJIRI - rounded nakago jiri
KURIKARA - dragon horimono (engraving/carving)
KURIKATA - scabbard (saya) fitting for attaching the sageo
KUZURE - crumbling or disintegrating
KWAIKEN - short knife carried by women
MACHI - notches at the start of the ha and mune
MACHI-OKURI - blade shortened by moving up the ha-machi and mune-machi
MARU - round
MARU-DOME - round groove ending
MARU-MUNE - round mune
MASAME - straight grain (hada)
MEI - swordsmith's signature
MEIBUTSU - famous sword
MEKUGI - sword peg
MEKUGI-ANA - hole for mekugi
MEMPO - face guard or mask
MENUKI - hilt ornaments
MIDARE - irregular, uneven temperline (hamon)
MIDARE-KOMI - uneven pattern in boshi
MIHABA - width of sword blade at the machi
MIMIGATA - ear shaped hamon
MITOKOROMONO - matching set of kozuka, kogai and menuki
MITSU KADO - point where yokote, shinogi and ko-shinogi meet
MITSU-MUNE - three-sided mune
MIZUKAGE - hazy line in ji commonly due to re-tempering
MOKKO - four lobe shaped (a tsuba shape)
MOKUME - burl like hada
MON - family crest
MONOUCHI - main cutting portion of blade (first six inches from kissaki)
MOROHA - double-edged sword
MOTO-HABA - blade width near habaki
MOTO-KASANE - blade thickness
MU - empty or nothing
MUJI - no visible grain
MUMEI - no signature (unsigned blade)
MUNE - back ridge of sword blade
MUNEMACHI - notch at start of mune
MUNEYAKI - regions of temper along the mune
MU-SORI - no curvature

N.B.T.H.K. - Nihon Bijutsu Token Hozon Kai (sword preservation group)

NAGAMAKI - halberd weapon mounted as a sword
NAGASA - blade length (from tip of kissaki to munemachi)
NAGINATA - halberd
NAKAGO - sword tang
NAMBAN TETSU - foreign steel
NANAKO - raised dimpling (fish roe)
NAOSHI - corrected or repaired
NASHIJI - hada like pear skin
NENGO - Japanese era
NIE - bright crystals in hamon or ji
NIE-DEKI - hamon done in nie
NIKU - meat (blade having lots of fullness)
NIOI - cloud like hamon
NIOI-DEKI - composed of nioi
NIOI-GIRE - break in hamon
NODACHI - large tachi worn by high officials
NOTARE - wave like hamon
NOTARE-MIDARE - irregular wave like hamon
N.T.H.K.. - Nihon Token Hozon Kai (sword appraisal group)
NUNOME - overlay metal-work

O - large
OBI - belt sash
O-CHOJI - large choji hamon
O-DACHI - very long sword (over 30 inches)
O-KISSAKI - large kissaki
O-MIDARE - large irregular hamon
OMOTE - signature side of the nakago
O-NIE - large nie
O-NOTARE - large wave patterned hamon
ORIGAMI - appraisal certificate
ORIKAESHI MEI - folded signature
OROSHIGANE - specially processed steel for making swords
O-SEPPA - large seppa (usually on tachi)
OSHIGATA - rubbing of the signature on the nakago
O-SURIAGE - a shortened tang with the signature removed

SAGEO - cord used for tying the saya to the obi

SAGURI - catch-hook on saya
SAIHA/SAIJIN - retempered sword
SAKA - slanted
SAKI - tip or point
SAKI-HABA - blade width at yokote
SAKI ZORI - curvature in the top third of the blade
SAKU - made
SAME' - rayskin used for tsuka (handle) covering
SAMURAI - Japanese warrior or the warrior class
SANBONSUGI - "three cedars" (hamon with repeating three peaks)
SAN-MAI - three-piece sword construction
SAYA - sword scabbard
SAYAGAKI - attribution on a plain wood scabbard
SAYAGUCHI - mouth of the scabbard (koi-guchi)
SAYASHI - scabbard maker
SEKI-GANE - soft metal plugs in the tsuka hitsu-ana
SEPPA - washers or spacers
SHAKU - Japanese unit of measure approximately one foot
SHAKUDO - copper and gold alloy used for sword fittings
SHIBUICHI - copper and silver alloy used for sword fittings
SHIKOMI-ZUE - sword cane
SHINAE - ripples in steel due to bending of blade
SHINAI - bamboo sword used in Kendo
SHINGANE - soft core steel
SHINOGI - ridgeline of the blade
SHINOGI-JI - sword flat between the mune and shinogi
SHINOGI-ZUKURI - sword with shinogi
SHIN-SHINTO - New-New Sword Period (1781 to 1868)
SHINTO - New Sword Period (1596 to 1781)
SHIRASAYA - plain wood storage scabbard
SHITODOME - small collars in the kurikata and/or kashira
SHOBU ZUKURI - blade where shinogi goes to the tip of the kissaki (no yokote)
SHOGUN - supreme military leader
SHOTO - short sword (between 12 and 24 inches)
SHOWATO - sword made during the Showa Era (usually refers to low quality blades)
SHUMEI - red lacquer signature
SHURIKEN - small throwing knife
SORI - curvature
SUDARE-BA - bamboo blinds effects in hamon
SUE - late or later
SUGATA - shape of sword blade
SUGUHA - straight temper line
SUKASHI - cut out
SUN - Japanese measure, approx. one inch
SUNAGASHI - activity in hamon like brushed sand
SURIAGE - shortened tang
TACHI - long sword worn with cutting-edge down
TACHI-MEI - signature facing away from body when worn edge down
TAKABORI - high relief carving
TAKANOHA - hawk feather style of yasurime
TAMAHAGANE - raw steel for making swords
TAMESHIGIRI - cutting test
TAMESHI-MEI - cutting test inscription
TANAGO - fish belly shaped nakago
TANAGO-BARA - fish belly shaped nakago
TANTO - dagger or knife with blade less than 12 inches
TATARA - smith's smelter for making sword steel
TO - sword
TOBIYAKI - islands of tempering in the ji
TOGARI - pointed
TOGI - sword polish or polisher
TORAN - high wave like hamon
TORII-ZORI - sword curve in the middle of the blade
TSUBA - sword guard
TSUCHI - small hammer/awl for removing mekugi
TSUKA - sword handle
TSUKA-GUCHI - mouth of handle
TSUKA-ITO - handle wrapping or tape
TSUKAMAKI - art of wrapping the handle of a sword
TSUKURI / ZUKURI - sword
TSUKURU - made by or produced by
TSUNAGI - wooden sword blade to display fittings
TSURUGI - double edged, straight sword

UBU - original, complete, unaltered tang (nakago)

UCHIGATANA - fighting katana
UCHIKO - fine powder used to clean sword blades
UCHIZORI - curved inward
UMABARI - horse needle
UMA-HA - horse teeth hamon
UMEGANE - plug used to repair kizu
URA - side of the nakago facing toward the body
URA-MEI - signed on the ura (usually the date)
UTSURI - reflection of temperline in ji

WAKIZASHI - short sword (blade between 12 and 24 inches)

WARE - opening in the steel
WARI-BASHI / WARI-KOGAI - chop-sticks

YAKI DASHI - straight temperline near the hamachi

YA-HAZU - arrow notch shaped hamon
YAKIBA - hardened, tempered sword edge
YAKIDASHI - hamon beginning just above the ha-machi
YAKIHABA - width of yakiba
YAKI-IRE - fast quenching of sword (tempering)
YAKIZUME - temperline in boshi with no turnback
YANONE - arrow head
YARI - spear
YASURIME - file marks on nakago
YOKOTE - line between ji and kissaki
YOROIDOSHI - armor piercing tanto

ZOGAN - inlay
ZUKURI - sword
 JAPANESE SWORD CARE GUIDE
A Manual Published
by the
Nippon Bijutsu Token Hozon Kyokai

Traditionally, the Japanese sword has been a most important treasure of the Japanese people. We
should do what we can to preserve it in order to pay respect to our ancestors who created such a
great form of art. Swords must be treated with utmost caution so as not to injure the handler.
Precautions to protect them from scratches and rust are also necessary.

I. Precautions to be taken in handling the Nipponto

(1) All swords, whether encased in plain wooden scabbards and hilts (shirasaya) or formal
mountings (koshirae), need to be kept in their swordbags. The head of the scabbard (kojiri) must
go into the bag first to avoid the possibility of an accidental fall.

(2) To carry a sword, the scabbard (saya) must be held with one's right hand. The hilt (tsuka)
must be put up and the blade must hang down. This measure will prevent dangerous accidents.

(3) Whenever one draws a mounted sword out of its bag or scabbard, make sure the position of
the hilt does not go lower than the scabbard.

(4) The registration card (if one has been issued) should either be tied to the scabbard or sewed
onto the swordbag. (The sword owner in Japan has a legal obligation to keep a sword and its
registration card together.) [NOTE: This does not apply in other countries]

II. How to draw a sword out of the scabbard and put it back

(1) Whether drawing out a tachi or katana, one must hold the cutting edge up and grasp the
scabbard from underneath in the left hand in a forwardholding position. Then, hold the hilt from
above with the right hand.

Since the scabbard is rather tight fit at the opening where the collar (habaki) is fit (koiguchi), the
initial pull must be very carefully made so that only the collar's length gets drawn out. Giving a
sudden powerful pull may not only impair the opening of the scabbard but also might result in an
uncontrollable jerk leading to injury. Holding the blade still, pull it entirely out of the scabbard
very slowly making certain the cutting edge never faces down or sideways.

(2) When a blade is placed back in the scabbard, its case must be held by the left hand and the
hilt by the right hand as in the pulling-out process. The tip of the sharp edge facing up must first
rest gently on the opening of the scabbard. Again, holding the blade still, slide the blade along
the ditch into the scabbard. When the collar reaches the opening of the case, a firm push is
necessary to ensure steady settlement.

As before, the cutting edge must not face down or sideways.

III. Method of Maintenance

The major purpose of swordcare is to make the steel surface does not oxidize or rust. Therefore,
it is necessary to throughly remove the stale oil and replace it entirely with new oil. The
following describes the tools used and the order of operations of swordcare.

A) Tools

1. Mekugi-nuki: A tool to remove the bamboo peg (mekugi) holding the blade in the hilt; usually
made of brass or bamboo.

2. Uchiko: The most finely ground whetstone powder (30-35g) for cleaning the blade surface.
First, wrapped in Japanese hand-made paper called Yoshino-gami, then rewrapped by cotton or
silk cloth, it comes through the wrapping materials when patted on the blade surface.

3. Nuguigami: High quality thick Japanese paper must be thoroughly wrinkled to soften and
remove coarse and dusty elements for wiping the blade surface. There are two reasons for the
wiping function; one for preliminary removal of old oil and the other for removal of the powder.
When using flannel, the fabric must be washed, destarched in water, then dried.

4. Abura: A rust-preventive oil called choji or clove oil.

5. Abura-nuguishi: Paper used to spread oil over the blade surface. A piece of wiping paper or
flannel will do.

6.Others: A wooden hammer and benzene, if necessary.

B) Method of Sword Care

1. Lay down the mounted blade and push the peg out in preparation for removing the hilt.

2. Pull the blade out of the scabbard.

3. To remove the hilt, hold its end with the left hand on the side where the back of the blade is
fit, and keep the blade in a slightly angled upright position. Use the right fist to hit the left wrist
lightly a few times. When the tang (nakago) becomes slightly loosened in the hilt, repeat until
the tang comes out of the hilt by itself. When there is enough room to grasp the tang, the blade
may be pulled out of the hilt by the right hand.

Be careful not to hit the left wrist too hard with the right hand as there is a danger that blades
with short tangs like tanto might bounce out of the hilt entirely. Therefore, the initial impact
must be light, just to check how tightly the tang is fixed in the hilt. Then, the force of subsequent
blows must be adjusted accordingly. When the blade is taken out of the hilt, the peg removed
from the hilt should be replaced.

4. If the blade is mounted in a full koshirae, other attachements such as swordguard (tsuba) and
spacers (seppa) on both sides of the swordguard in addition to the collar must be replaced. When
the collar is fit too tightly to remove, it can be loosened by hitting it with a wooden hammer on
the back (mune) after covering the collar with a cloth for protection.

5. The wiping process requires two pieces of paper. The initial one removes the old oil and dust,
which is called preliminary cleaning. First place the cleaning paper on the back and fold it into
halves toward the edge. Then, hold the paper-covered blade from above the back so that the
thumb and the forefinger grip each side of the cutting section from above the paper.

Hardly any force is needed to wipe the blade upward, one way, starting from the base. When the
cleaning paper reaches the point, be particularly careful in wiping lightly. No pressure or friction
must be put on the point. When expertise is attained, the wiping action can also be both ways, up
and down. Lack of experience could cause the cutting of paper or even fingers and thus it must
be strictly avoided.

6. In case the oil cannot be removed with ease, cotton or gauze soaked in benzene or pure
alcohol may be used in the same wiping manner as described above.

7. The powdering starts from the base toward the tip on the obverse in a light, uniform patting
motion to cover the blade surface. Then turn the blade over and start patting from the point
download toward the base.
8. Then, use the other sheet of paper to wipe the powder off the blade surface in the same manner
as described in (5) in this section. If oil remains, some more powdering and wiping is necessary.

9. When the surface is thoroughly clean, check for the presence of rust, flaws and other damages.
Then, without putting back the hilt, collar and other attachments, the blade alone must be placed
back in the scabbard.

It should be noted that the two kinds of wiping paper used in this process must not be
interchanged and should have distinct purposes - preliminary and final.

10. The re-oiling with a piece of paper, or destarched flannel, folded in size 3cm x 6cm and
soaked in fresh oil completes a round of swordcare. When the paper is ready, the sword is to be
drawn out of the scabbard again. After placing it in the left hand, put the oiling paper on the back
to do the same movement as described in the wiping process.

To make sure the blade surface is thoroughly covered with oil, repeat the same procedure a few
times. Just as in the wiping, the handling of the sword as well as the oiling paper must be most
carefully done. The paper should contain the right amount of oil so that no excess oil will
overflow and harm the scabbard. The oil must be spread thinly and evenly.

11. It is a good idea to apply oil to the surface of the tang with one's fingers. However, an
excessive amount of oil must also be avoided here.

12. Put the collar back and encase the blade tentatively in the scabbard. Remove the peg from the
hilt, draw the blade out of the scabbard, hold it in the right hand in an almost upright position,
pick up the hilt with the other hand, and put the tang back in the hilt. Keep holding the blade in
the hilt with the left hand and hit the bottom of the hilt lightly with the palm of the right hand so
that the tang settles firmly in the hilt. When the tang is fixed in its perfect position, replace the
peg.
Then, pass the blade to the right hand, pick up the scabbard and slide the blade into it observing
the manner described in Section II. Needless to say, the other parts like spacers and swordguards
of fully mounted swords must also be returned to their respective places before the hilt is put on
the tang.

13. The methods for handling and caring for other forms of blades such as spears (yari) and
halberds (naginata) are the same. Spears must be handled especially carefully ; otherwise injury
may occur. Also, the daggers of double-edged type (ken) are very dangerous.

Swordcare tools must be kept perfectly clean, for dust stuck on the wiping cloth or oiling paper
could cause scratches on the steel surface. Protecting these surfaces which have been most finely
polished through the graded processes involving more than ten kinds of whetstones of different
fineness and hardness is critical.

IV. How to preserve the Nipponto

The most important aspects of preserving blades in any form are to protect them from developing
rust and scratches.

The precautions required for keeping the Nipponto in good condition are the following:

1. Despite regular care and oiling, a blade may develop rust in places. Generally when rusting
takes place where the scabbard touches the blade, it must be taken to and repaired by a saya
specialist. Or, when the scabbard is very old, its interior may well be contaminated with rust and
dirt, thus causing the steel to rust. In such a case, a new scabbard must replace the old one at
once.

2. Since the formal mounting functions as an outfit for dressing up, a blade needs to have a plain
wooden scabbard and hilt which would be, as it were, casual wear for a blade. It is much
preferred to rest a blade in its casual outfit so that when the blade surface starts to rust the
wooden scabbard can readily be cleaned inside by splitting it open into vertical halves, which are
simply fastened together with a paste made from cooked rice.

No chemical substances may be used to fasten the parts of the scabbard and hilt.

3. If a blade should start to rust, no inexperienced repair such as rubbing the rust off with a
spatula or coin's edge would improve the condition; rather it is likely to aggravate it and
necessitate extra work in smoothing the damaged area. It must be taken to a polishing specialist
at once just like a sick person would need to go to see a medical specialist.

4. Since a blade is particularly vulnerable to rusting soon after polishing, cleaning and oiling
should be done preferably every ten days for about six months.

5. Later when the polished blade surface condition is more stable, clean it regularly, at least
every six months.

6. In preserving swords, it is improper to keep them in a leaning position bacause it would cause
the oil to go down along the blade surface and make a pool at a point.

It is necessary to keep them in a dry place, laid down.

It would be ideal to keep them in drawers made of paulownia wood. Use of camphor balls or
naphthalene to protect the chest from borers should be avoided. It would cause rust on the steel.

7. Although dry conditions are preferable for swords, the wooden containers or mountings
require moisture. Therefore, the place for preserving swords must be carefully selected.

Brief History of Modern Japanese Swords.

A Western and Personal Perspective

On the 6th August 1945, the day of the black rain and the atomic bombing of Hiroshima, the
Japanese sword finally lost all claims to being a decisive weapon of war. A long and glorious
history of sword making for practical use on the battlefield, ended in a mushroom cloud. After
the Japanese surrender, a ban on sword production was strictly enforced by the occupying forces
and Japanese swords were systematically hunted down and destroyed.

Similarly, it was thought that the Hito-rei edict of 1876 (banning the wearing of the Japanese
sword by the Samurai) if less dramatically and cruelly, would also effectively finish the
manufacturing of the traditional Japanese sword. However, the Japanese sword, in its ever
evolving styles, has proved durable in the face of both interfering bureaucracy and thermo-
nuclear fission.

Japanese swords of the 20th century have indeed had a chequered history. In the very early years
very few swordsmiths could earn a living exclusively forging blades, and the few that did usually
made copies of Koto (old swords) for the collectors of the time. Although the Emperor Meiji was
a patron of the sword and appointed Gassan Sadakazu (the 1st generation) and Miyamoto
Kanenori to the status of 'Teishitsu Gigei' (the equivalent of todays Ningen Kokuho - Living
National Treasure) few orders for swords were made until the militarists began to take hold of
Japan in the Taisho and Showa period. It was then that the Gunto (army sword) whose
dimensions were generally regulated to about 2 Shaku 2 Sun, was popularised. The swords of the
Nihon To Tanren Kai of the Yasukuni Shrine in Tokyo, together with the swords of the
Denshusho and those of Horii Toshihide of Muroran, are among the best and most representative
of the pre-Pacific War Showa period i.e. 1926-41. Such traditionally forged and water quenched
blades are known as Gendai-to (modern swords).

Also in this period and throughout the Pacific War, poor quality swords were mass-produced as
weapons for the Imperial Japanese Army and Navy. All officers were required to carry a sword
as part of their uniform and to inspire them with a sense of Bushido, but as always in Japanese
history, when there had been a massive demand for swords, quality was the first casualty. These
swords were often made by hastily recruited blacksmiths who had but a rudimentary knowledge
of sword making and who appeared "like the sprouting of bamboo shoots after the rain". Unlike
the previously mentioned Gendai-to, such swords have little or no artistic merit. They often carry
a stamp with the kanji 'SHO', from Showa, or the kanji 'SEKI' after one of the main production
centres. The significance of these stamps seem to be the object of much interest and interminable
discussion amongst some Western collectors. Such blades are usually signed in a very loose and
unattractive manner and the nakago are generally poorly finished.

On these blades a hamon (hardened edge) may seem to be present. However, on Showa-to it is
produced by quenching the blade in oil rather than in the traditional manner, which is in water.
The use of oil means that the quenching process may be carried out at a much lower temperature,
thus avoiding the risk of flaws such as hagiri (edge cracks) appearing (or, indeed of nie
appearing!). The 'hamon' thus produced is not a true or real hamon but only an imitation. With
the lack of proper materials and short cuts in the forging process, it is difficult to call these
blades, known as Showa-to, true Japanese swords. Such swords are often collected by those
whose interest lies in Japanese militaria and the military history of this period.

When the occupying forces came to the Japanese homeland in 1945, the making of Japanese
swords as well as the practice of the martial arts was banned in order to democratise Japan and
remove the militaristic influences of the recent past. Many outstanding and important swords
were either looted by the occupation forces or destroyed at this time. No distinction between
those swords with artistic and historical merit and Showa-to were made and so valuable and
historic swords were lost forever by ignorance.

It was not until several years later (1949) that there was any easing of this ban. The occasion was
a special dedication to the Ise Grand Shrine which takes place every twenty five years and had
done so for the preceding one thousand years. For this ceremony about sixty swords by selected
smiths were required to be made and permission was granted for this to be done. These swords
were not the normal curved sword but of the ancient style known as Kiriha-zukuri Chokuto and
some measured from 80 to 96 centimetres in length. It was, of course, a great honour for the
swordsmiths who were allowed to resume their craft for this special occasion. They included
Miyaguchi Toshihiro, Takahashi Sadatsugu and Miyari Akihira (the latter two were subsequently
made 'Living National Treasures') as well as Ishi Akifusa, Nigara Kunitoshi, Endo Mitsuiki and
Sakai Shigemasa. Sato Kanzan Sensei stated that the 1949 ceremony was the first important
stimulus given to the swordsmiths of Japan in the post-war period.

In 1953, a new law allowed the resumption of sword making and the Nihon Bijutsu Token
Hozon Kyokai (The Japanese Art Sword Preservation Society - known as the NBTHK) was
formed in 1960. The crisis had passed and the Japanese sword was saved from complete
destruction. Today the NBTHK does much important work, which includes the operation of a
smelter, or tatara that produces the raw material (called tamahagane) for forging a sword, the
running of the Japanese Sword Museum in Tokyo and the organising of the various artisan's
annual competitions. It is also considered that another important function of the NBTHK is to
foster communication between various artisans of the Japanese sword. This is quite different
from earlier times when schools of swordsmiths jealously guarded their manufacturing secrets,
but after World War II virtually an entire generation of swordsmiths was lost and the survivors
had to communicate with each other in order for the arts to survive. In Showa 30th year (1955)
the first post-war competition and exhibition of Shinsaku-to was held. Apparently the quality of
pieces submitted was, understandably, not particularly good at this time.

The annual contest that is organised by the NBTHK covers many aspects of the arts of the
Japanese sword, including sword making, blade polishing, scabbard making and metalworking.
These competitions as well as giving swordsmiths something to strive for, serve to give the
Japanese collector or customer for a sword, the confidence of having instant provenance from a
recognised and successful artist. This is somewhat different to Western appreciation, where we
tend to like an object more for its own sake rather than mainly because the creator has a certain
placing in a competition. I think we are more prepared to back our own opinion, with less
reliance being placed on certification, as regards style, quality and authentication of a blade, than
are many of the Japanese 'investors' in Japanese swords.

When blades are entered for the annual competition they are all ranked from the top to the
bottom. This ranking is very important as it gives relative values to each smith's work for the
next year. When a swordsmith has consistently ranked in the top few, he is awarded the rank of
'Mukansa'. This means that a Mukansa's work, although entered into the competition is not
subject to being judged. Above the rank of Mukansa is the rank of Ningen Kokuho (Living
National Treasure). Currently two swordsmiths who were previously Mukansa hold this rank,
Gassan Sadakazu and Sumitani Masamine (examples of the latter's work and several Mukansa
swordsmiths are in the present exhibition).

As previously stated, now that the nuclear age had dawned, the Japanese sword had lost all its
reason as a weapon of war. Consequently its artistic rather than practical properties, which had
always been appreciated by the knowledgeable and educated Japanese, now began to be even
more emphasised. However, most of the properties of a good sword may be traced back to the
sword's traditional role as a weapon. A sword must be of good shape and balance, be made of
good steel, have flexibility and a sharp edge, as well as being attractive to look at in detail. The
annual competitions, as well as shows put on by various commercial and retail outlets, such as
Ohnishi Token, have helped to greatly improve the standard of Shinsaku-to since 1954.

Swordsmiths are licensed by the government and allowed to make no more than two long swords
per month. This number was arrived at by observing the swordsmith Akihira Miyari who
apparently was a slow and methodical worker who would only produce two good swords per
month. Many swordsmiths and artisans that I have spoken to believe that this is a very low figure
and many present day swordsmiths would be quite capable of producing more than two swords
per month. This rule is also designed to prevent the manufacture of cheap weapons with no
artistic value. The rules, which are still in effect are:

1 ) Only a licensed swordsmith can produce a Japanese sword (any cutting instrument with a
blade over 6 inches, a hamon, and a rivet hole in the tang. Edged weapons less that 6 inches in
length and lacking a rivet hole are considered knives, or ko-gatana, and are not subject to
regulation). A licence may be obtained only by serving an apprenticeship under a licensed
swordsmith for a minimum of five years.

2) A licensed swordsmith may produce a maximum of two long swords (over 2 feet) or three
short swords (under 2 feet) per month.

3) All swords must be registered with the Agency of Cultural Affairs.

Today, most newly made swords (Shinaskuto) are sent straight to the polisher, habaki maker and
shira-saya maker, although some are mounted in modern koshirae. Many swords are now made
in the Bizen style which is popular with the Japanese collectors. Members will remember seeing
Sumitani Masamine's Ichimonji-utsushi in London a couple of years ago. This sword had a very
flamboyant choji midare hamon in the style of the Kamakura period Fukuoka Ichimonji school
and it may be that this 'National Treasure' swordsmith's skill in Bizen Den has influenced many
other younger swordsmiths. When looking at such swords we may search for and sometimes
actually see utsuri. It seems that in the challenge to equal the swords of bygone days, the quest to
reproduce utsuri is very important. Although a kind of utsuri may sometimes be found, to me this
resembles the shirake utsuri of Muromachi period Kaga or Sue Seki blades and I have not seen a
convincing Bizen midare utsuri, for instance. There is much work still to be done!

This post war period has been compared to the renaissance of Japanese swords that heralded the
advent of the Shinshinto period in the late 18th century. There are I guess, some valid
comparisons. Both periods followed a decline in Japanese sword production and both periods
seek to recapture past glorious ages of the Japanese sword as well as innovating great changes in
production methods. I think the current changes in sword making are at least as drastic as these
earlier changes and possibly more significant. I hope they will not be accompanied by the same
eventual decline and that today's artists manage to train sufficiently skilful students who are able
to preserve and continue the arts.

I believe that the Japanese sword establishment is still a very conservative body. I think that
many of the older generation believe it is impossible for foreigners to really appreciate the
Japanese sword, as it is a peculiarly Japanese cultural asset. When I started collecting swords in
the mid 1960's very little information was available to non-Japanese reading foreigners. There
was also a feeling that those few who had any knowledge would jealously guard it and not pass it
on. I have never been sure of whether this was because they were never really sure of their facts
and did not wish to tee 'exposed', or whether it was considered commercially sensitive
information. Either way, it was an unhealthy and secretive attitude that pervaded.

Fortunately today, within the younger generation of sword people from Japan, many of whom
have travelled abroad and been exposed to Western collectors, there is a far less conservative
attitude, as well as a great deal of information available through useful and informative
translations. The present exhibition is an example of genuine Japanese friends co-operating with
foreigners to bring the beauty of the Japanese sword to a wider audience.

I wonder how Western interest in Japanese swords may eventually effect their production. At
least one Westerner has already become a qualified swordsmith after a Japanese apprenticeship
and I am sure that it cannot be too long before some Gaikokujin is entering the annual sword-
making competitions. A foreigner who becomes a Mukansa swordsmith is no more far fetched
than one becoming a Yokozuna in another very conservative and traditional Japanese area -
Sumo. It would certainly be most interesting to be around in 100 years time to see how today's
Shinsaku-to are regarded and the place they have found within the global history of the Japanese
sword.

I personally find it amazing that the Japanese sword provides such inspiration to so many non-
Japanese. Apart from those collectors and students of the Japanese sword in Japan, I believe
there must now be thousands outside of the country. When it is considered that nowadays as well
as non-Japanese collectors there are English artisans submitting tsuba to the annual competitions
in Japan, that there are thriving polishing businesses both in Europe and USA, that expert lacquer
work may also be done in Europe, as well as Habaki making, shirasaya making and tsukamaki
and not to mention the number of sword dealers and Kendo/Iai dojo that abound, the amount of
people involved with the Japanese sword is staggering. It is a truly amazing thing and I know of
no art form that is also an effective and awesome weapon, that transcends so many cultural
barriers and effects so many different people in this manner, providing them with such sustained
personal motivation.

Finally, a word about so-called Shin-ken. These are the modern swords that are made for lai
practice and are sold complete with koshirae. As I have pointed out above, a swordsmith must be
registered and is only allowed to make two swords per month. Such a limited production level
means that blades by the top swordsmiths (Mukansa level and above) are in limited supply and
high demand and consequently very expensive, easily costing in excess of � 20,000 for a blade
(koshirae extra). Of the few Shinken that I have seen, most are not particularly attractive from a
visual point of view as they tend to be crudely forged by semi-professionals or amateurs. They
have poor ji-hada and the nie (martinsite crystals which make up the hamon) are coarse, dark and
untidy and often the configuration of the hamon lacks form and control, whilst any activities
seem to be unnatural or forced. The koshirae have poor quality metal mounts and often cheap
cast tsuba, whilst the saya are seldom properly lacquered. Having said that, they are perfectly
adequate for the purpose for which they were bought, but it would be unwise to consider them as
art swords. In Iai-do, with the blade being constantly handled and at risk from damage, there is
no requirement to have a good and expensive blade, but I would have my doubts for their
survival should any actual cutting be attempted. Please remember that in the international
Japanese sword market, �3,000 - �4,000 is a cheap price (although a lot of money for us
mere mortals) to pay for a fully mounted katana with a modern forged blade and you can only
expect to get what you pay for.

(This essay was originally written as part of the To-ken Society of Great Britain's 'Challenge of
Shinsaku-to Exhibition and Token Taikai '93' catalogue. It was adapted for the B.K.A. News in
Sept. '95.)

Clive Sinclaire
Secretary, The To-Ken Society of Great Britain
Reprinted with permission of the British Kendo Assoc.
 FUJIWARA KANEFUSA
23rd Generation

The Kanefusa lineage of swordsmiths of Mino

Province dates back to the Muromachi era in the
1400's. The 23rd generation Kanefusa worked
during the WW II era and was a direct descendant of
this famous line of swordsmiths. This lineage
continues today with the 25th generation Kanefusa.
The 23rd generation Kanefusa's name was Kato
Koichi. He was born in 1900. During the Showa
period he studied under Kato Jumyo and worked in
Seki (Mino / modern Gifu prefecture). During the
war years he made many blades for the military,
both army and navy, and for civil officials. He won
numerous awards in sword exhibitions and contests
during this period. He was ranked 1st Seat (National Swordsmith) in the 6th
Exhibition of Swords held in 1941 (Slough). He was ranked Kibin no Retsu in 1942
by Kurihara Hikosaburo at the Tosho Banzuke (J.Kim). Many of his blades are
signed as being prize winning blades. Blades by the 23rd generation Kanefusa have
received origami from the NBTHK or NTHK. This school of swordsmiths is noted
for making a special style of hamon known as "Kanefusa midare".

There are several blades known made by Noshu Seki 23rd

Generation Kanefusa which have the kiku-sui crest carved as a
horimono on the blade (not on the nakago). These blades were not
made at the Minatogawa Jinja Tanrensho and have no known
connection with it. These swords probably were a special order
from a group of naval officers or a naval officer's club associated
with the Minatogawa battleship. This same style Minatogawa
crest is occasionally found on blades by Asano Kanesane. These
are also thought to be special order blades and not associated with
the Minatogawa Jinja.

Among signatures on the 23rd Generation Kanefusa blades are:

 Kanefusa
 Fujiwara Kanefusa
 Noshu Seki ju Fujiwara Kanefusa
 Seki ju Ni ju San Dai Kanefusa
 Noshu Seki ju Ni Ju San Dai Fujiwara Kanefusa saku kore
(oshigata shown left)

Some blades bear inscriptions about awards or being prize winning

blades. Sho or Seki tang stamps may appear on the nakago. Some of his
blades were signed nakirishi mei. He forged both traditionally made gendaito and non-
traditionally made showato using mill steel, thus each blade must be judged on its own merits.
Kanefusa blades are found mounted in shin-gunto (army) or kai-gunto (navy) koshirae and
shirasaya. The 23rd generation Kanefusa is listed in the Toko Taikan, in Hawley's Japanese
Swordsmiths, and the Nihonto Meikan.

Rare tang stamp (right) on nakago of a 23rd Gen. Kanefusa blade. Believed to read:
"Registration of practical design #211689. Wrapped steel forging blade" (Jitsuyo Shinaan
Toroku, Dai 211689 Go, Hotetsu Tanren Toin)

Oshigata courtesy of Ron Polansky.

Thanks to Jinsoo Kim and John Slough for information on Kanefusa.
Thanks to Phillip Bell for the kikusui mon photo.
Photo from Dai Nihon Token Shoko Meikan (pub. 1942) courtesy of Jinsoo Kim
 TRANSLATING SWORD SIGNATURES
SWORDSMITH KANJI "A to G"

There are literally thousands of Kanji characters which were used by swordsmiths to carve their
signatures (mei) on the tangs (nakago) of the swords they made. These pages contain only a few
hundred of the more common Kanji found on sword tangs. Normally there are several possible
Kanji for a single Romanji (English) syllable and vice versa, there are normally several ways a
given Romanji (English) syllable can be rendered in Kanji. These pages ignore accent and
diacritical marks; thus tou is found as to, etc. It is hoped that this will not cause excessive
confusion. Reading the mei (signatures) of Japanese swords is a very difficult task even for
experts. It is hoped that the following tables may aid in translating the signatures of swordsmiths.

TIPS ON READING SWORD SIGNATURES (MEI)

The signatures on Japanese swords vary in style and complexity. The simplest is a two character
mei which is just the smith's name. If there are three characters, the third will usually be saku,
which means "made this".

Longer mei are more difficult. In longer signatures (reading from the top down), there may be
the place of residence (province) - usually two characters ( Japanese province Kanji) - the
second character is commonly shu, followed by the character ju or kuni meaning "resident of".
That may be followed by an honorary title such as kami or daijo. Next may be the smith's family
or clan name such as Taira , Fujiwara , Tachibana or Minamoto. The last characters in a long
mei will normally be the smith's given name and may be followed by saku (made this).

Also, please be aware that for WW II era swords, a signature is no guarantee that the blade is
hand forged. Many WW II era swords were machine made or only "partially" forged but may
still bear a mei. See the gendai swordsmith page for more details. If both sides of the nakago
are inscribed, the reverse side is normally a date inscription stating when the sword was made.
To learn how to translate date inscriptions, go to the reading date inscriptions.

EXAMPLE MEI
 Nagamitsu saku (made by Nagamitsu)

Soshu ju Masahiro saku (made by Masahiro of Soshu)

Don't be disheartened or too frustrated if you can't translate the signature easily. Experts are
sometimes confused and find it difficult. Reading mei is like trying to read someone's sloppy
handwriting written in a language that you don't understand :-(

Feel free to print and/or save these Kanji pages for personal, offline use.
Attempting to decipher a mei by matching Kanji takes a lot of time!!
 CHARACTERISTICS OF MINO-DEN
Hawley:

General: Made all types. Medium to shallow even sori, medium kissaki, medium to thick mune
Hada: Mokume-masasme
Hamon: Komidare, pointed patterns, gunome-choji
Boshi: Midare-komi, Jizo boshi

Token Kantei-Dokuhan:

General: Begins around 1156-1159 (end of Kamakura period). Last of the five traditions. Three
basic periods are discussed; Early Mino (Kaneuji and Kinju), Midterm Mino (Naoe Shizu
School), and Later Mino (Sue-Seki).

Early Mino - From end of Kamakura to mid-Nambokucho. Kaneuji, student of Masamune, from
Yamato province, so influence of Yamato. As Masamune Jitetsu, will see Soshu influence.
Kinju, also known as Kaneshige, from Echizen province, also Soshu-den adherent. In general
work is considered Yamato-den mixed with Soshu-den.

Hada: O-mokume mixed with masame with chikei and abundant ji-nie, clear and not white
colored yet.
Hamon: Nie deki, large nie, thick nioi, wide and narrow patterns, O-midare, O-gunome-midare,
notare-midare, pointed midare seen somewhere.
Boshi: Midare-komi with hakkikake, ko-maru and short kaeri.

Midterm Mino - From mid-Nambokucho to early Muromachi. Kaneuji's follower's; Kaneyuki,

later Kaneuji, Kanetoshi, Kanetsugu, Kanetomo, Kanehisa, Kanenobu. Suguta is grander (o-
kissaki, wide mihaba).

Hada: More masame mixed in and looks whiter than before.

Hamon: Wide yakihaba, o-midare and o-gunome-midare in nie deki with nie kuzure, sunagashi,
with pointed midare.
Boshi: Same as before but also see kaeri usually long

Later Mino - Begins with Muromachi. Kanesada, Kanemoto, Kanetsune. Two distinct katana
suguta, one wider shinogi-ji than usual, the other has a wider mihaba narrower shinogi-ji, strong
saki-zori typical for the time. Also see shobu-zukuri, yari, and naginata.

Hada: Not so good, hard, color is now black without bluish black. Ji is course mokume with
shinogi ji in masame.
Hamon: Sanbon Sugi, O-notare, yahazu-midare, hako-midare, gunome-choji, sometimes
hitatsura, suguha with nioi deki.
Boshi: Pointed, midare-komi, Jizo, long kaeri,

Nihonto Koza:
General: Two periods; First Period and Second Period. First Period mihaba is wide, kissaki is
elongated, but normal mihaba and kissaki are also present. Second Period, wide mihaba, shallow
sori most common. Mune on tachi is iorimune, mune on tanto is mitsumune.

First Period

Hada: hint of masame mixed in with itame most common, hada it tight, nie overall, tetsu is black
Hamon: Gunome and notare most common, nie abundant, those done in nioi will have nie have
sungashi, hakkake and so forth.
Boshi: Midare-komi, hint of jizo, hint of togari, nie deki most common with hakkake

Second Period:

Hada: About the same, some pure masame, if done in nie tetsu is tight and white, in loose it is
black which is more plentiful.
Hamon: Midare with gunome and/or notare, sanbonsuji plentiful, suguha w/wo hotsure, tight
nioi-guchi
Boshi: Midare, midare-komi, jizo boshi, suguha, hakkake

Yamanaka's Nihonto Newsletter:

General: No specific Mino section which is in the format of the other books. Instead, In Vol II,
two issues were dedicated to discussing the specific characteristics of the key schools and smiths.
The key smiths and schools are as follows: Kaneuji and his school, Naoe Shizu (Kaneuji's
followers), Kaneshige (worked in Soshu and Mino traditions), Zenjo School (founded by
Kaneyoshi who came from Yamato province) , Kanemoto School, Kanesada School (famous 2nd
generation "No-sada"), Akasaka Senjuin (Yamato province, Senjuin School, founder is Kuninaga
who moved to Mino province, Hachiya School (founded by Kanesada, different kanji than other
"No-sada" group.

Kaneuji:
Hada: Steel grain will show up clearly, much uruoi, ko-mokume with o-hada mixed together,
shinogi-ji will have masame, some muneyaki
Hamon: narrow, worked in nie, small designs of gunome-midare w/nie kuzure, rough nie,
inazuma, sunagashi in small places, tagariba mixed in places, midare will be small,
Boshi: shallow in midare-komi ending in yakizume or slight kaeri, kaen is seen on some works.

Naoe Shizu:
- resembles 1st and 2nd Kaneuji work, with of hamon becomes wider

Kaneshige:
Hada: small pattern mokume with masame mixed in, masame hada seen in the shinogi-ji
Hamon: narrow and in nie with mura nie, gunome-midare, nie kuzure but lacking nie. Uniform
gunome somewhere along the hamon, sunagashi of small pattern seen as well as inazume and
kunsuji, some muneyaki
Boshi: gunome in midare-komi which becomes togari at the tip, some yakizume or ko-maru

Zenjo School:
Hada: Same as others, but appears white, very uniform masame in the ji
Hamon: narrow yakiba with nie, but nie is lacking, some suguha hotsure, yakiba becomes wider
below the yokote, uniform gunome mixed in somewhere
Boshi: Ko-maru with little kaeri, some boshi are in Ichimonji style (whatever that is).

Kanemoto:
Hada: same as others but with lack of fused steel so hada has ware (openings)
Hamon: narrow yakiba done in nioi some nie in places, ko-midare with ko-gunome or ko-
gunome tagari, sambonsuji
Boshi: midare-komi with deep kaeri

Kanesada (No-sada):
Hada: very fine grain mokume with masame, grain will stand out, shinogi-ji will have masame
Hamon: narrow in nioi, some nie, hoso-suguha or shu-suguha, edge of hamon will be very
distinct, somewhere along the hamon there will be ko-midare about the size of a pea
Boshi: o-maru with kaeri yoru, some yakizume boshi

Akasaka Senjuin:
Hada: mokume with masame mixed in, individual grains will stand out, very hard looking steel,
some blades made in Bizen style have weak steel
Hamon: made in nioi, o-midare, notare midare, hiro suguha, or o-notare with yaki kuzure
Boshi: notare, midare-komi, ko-maru.

Hachiya School (the other Kanesada):

Hada: same as Akasaka senjuin
Hamon: made in nioi with mura nie, o-midare, gunome-choji, notare-midare, yahazu midare, o-
notare on on rare occasions hiro suguha and chu suguha, hamon is very distinct, with togari
somewhere along the hamon, some koshi-ba, mune-yaki at time.
Boshi: midare-komi or ko-maru, kaeri very deep and stops abruptly

Mino-to:
General: Nice overall work by Malcolm Cox cites various sources. More detailed on particular
smiths.

Material compiled by Tony Thomas.

 THE MIYAIRI SCHOOL
by Tony Thomas
Revised August 1999
History

There have been six Living National Treasures designated in the area of swordsmithing. Miyairi
Akihira was the second such designated toko. The school which Akihira founded has produced
many fine swords and swordsmiths and continues the fine traditions of Soshu today. In order to
better understand the school lets first take a closer look at the beginnings of the school and its
founder.

Miyairi Ken-ichi was born on 17 March 1913. In 1938 he entered the Kurihara Hikosaburo
school at the Japanese Sword Forging Center in Tokyo.

He studied for 15 years under his master Kurihara Akihide. Over the course of his training it
became evident that Miyairi Ken-ichi was more than an exceptional student. He became known
as Akihides prodigy. Akihide trained him thoroughly in the five traditions. From his masters
name he first took the swordsmith name of Akihira and was awarded a sword-making license on
26 December 1953. In 1962 he was awarded the status of mukansa, thus no longer compelled to
compete or subject to inspection. Also in that same year he was designated as the first honorable
citizen of the town of Sakashiro. In April 1963, at the age of 49, he was designated as Juyo
Mukei Bunkazai (Important Intangible National Treasure commonly referred to as Living
National Treasure), the youngest swordsmith ever so designated. Then, in 1973, he changed his
name to Yukihira (and henceforth is referred to by this name). Over the course of the next few
years Yukihira continued to forge swords and train students. Then unexpectedly, Miyairi
Yukihira died in 1977, at the age of 63.

In spite of Yukihira's broad training base, his main objective in sword making was Soshu-den
and centered specifically on the works of Shizu Kaneuji. As a result, many of Yukihiras works
exhibit the classic form of the Nambokucho Era and the emergence and zenith of the classic
Soshu style. In the process of trying to reach for the Shizu style, Yukihira produced many fine
reproductions of Yamamura Minamoto no Kiyomarus work. Kiyomaru had also sought to make
his objective the Soshu-den and Shizu. Today, this emphasis is reflected in many of Yukihiras
disciples works. While many fine examples exist of the Soshu-den, Yukihira also proved his
virtuosity in Bizen-den by producing several masterpieces in this style too.

Legacy

The Miyairi School of today is still quite active and continues to be a major proponent of Soshu-
den. Since the death of Yukihira, Miyairi Kiyomune has taken over as head of the school. Since
that time the Miyairi school s continued to be a leader in sword forging and related processes. It
is also interesting to note that other smiths within the school have gone on to achieve
considerable success and prestige for the school. Perhaps the most well known of the Miyairi
school disciples is Amada Akitsugu. Akitsugu was recently designated as Living National
Treasure as a reward for a lifetime of achievement and excellence. As recently as 1996 he won
the much coveted Masamune prize. Perhaps slightly less well known is Ozumi Toshihira. He too
was recently designated as a Living National Treasure. A number of other disciples have also
gone on to achieve mukansa status. Miyairi disciples are regular recipients of awards as the New
Sword Competition. While some smiths are winning prizes there are others that are helping
restore lost technology. Miyairi smiths have also played key roles in the restoration of the Tatara
process. Moreover, the Miyairi School remains active and continues to train new disciples to
carry on the ancient art of swordmaking.

The Miyairi School Geneology

The geneology diagram shown below shows the smiths known to have trained in the school at
one time or another. For the most part, the disciples of the school presented here performed the
majority of their training with the school, or completed their training with the school. The normal
Japanese convention of using the family name first has been reversed allowing the lineage to be
followed more easily.

 Kurihara Akihide (teacher of Miyairi Akihira)

 Miyairi Akihira / Yukihira (Founder of Miyairi School)
o Toshihira Ozumi (Living National Treasure)
o Akitsugu Amada (Living National Treasure)
o Kiyohira Miyairi / Kiyomune
(Akihira's brother, current head of school)
 Kiyoyuki Furukawa
 Kiyonao Matsukawa
 Kiyochika Kanehama
 Kiyotoshi Izumi
o Tsuguhira Takahashi
 Tsuguyasu Matsuda
 Norinari Yoshida
o Tsunehira Kanbayashi
o Akimori Miyagi
o Masahira Fujiyasu
 Kei / Yukihira Miyairi (Akihira's son)
o Kunihira Kawachi
 Takahira Kawachi (Kunihira's younger
brother)
 Sumihira Manabe
o Motohira Shinpo
o Kanehira Akiba
o Shigehira Watanabe
 Korehira Watanabe
o Shinpei Kato
o Yoshifusa / Yoshihisa Sato
o Yoshiharu Shimpo
o Kazuhira Okubo
o Akikuni Kondo
o Hidetada Takaha
 Hiromune Takaha (Hidetada's son)
o Nobuyoshi / Nobuhira (Keith Austin)

Swordsmiths
Note on swordsmith information. This information is based on two old references and two
relatively new references. Unfortunately, the information on all smiths present is not complete.
An explaination of awards given at the various sword competition is given: The Yushu Award
(Excellence) which corresponds to a second prize, the Shorei Award (Encouragement) which
also corresponds to a second prize, the Doryuko Award (Endeavor) which corresponds to a third
prize. The first prize awards are varied and include the following: Prince Takamatsu Award,
Bunkacho Chokan Award, NBTHK Honorary Chairmans Award, NBTHK Chairmans Award,
Kunzan Award, Kanzan Award, and the All Japan Swordsmith Association Award. There is also
several other awards which carry special significance. One award is the Meiichi Shinbun Award.
Perhaps the most coveted award of all the Masamune Prize. This is an award which is not
necessarily awarded every year but only when a significantly exceptional work is presented.
Perhaps one final note should be made. The American swordsmith Keith Austin
(Nobuhira/Nobuyoshi), is the only foreigner that has been accepted for and completed the
lengthy apprenticeship for swordsmiths.

Kiyohira/Kiyomune Miyairi

His real name is Miyairi Eizo. He was born on 1 May 1924. He currently resides in Nagano
Prefecture. He first began studying the forging techniques under his elder brother in April 1941.
In July 1948 he became independent and on 31 January 1959, he acquired the sword making
license. In the first annual Sword Making Competition in 1965 he won the Endeavor Prize. Since
that time he has won numerous other prizes to include: Meiichi Shinbun Prize, 2 Excellence
Prizes, 12 Encouragement Prizes, and 7 additional Endeavor Prizes. He made sacred swords for
the Ise Shrine in 1962 and 1985. Kiyohira has focused primarily on Soshu-den with the specific
objectives of Kiyomaru, Sadamune and Kaneuji. He changed his name to Kiyomune in February
1989. His works are dipicted in various references and usually show the nambokucho style tachi
with o-kissaki. Tanto tend to have a wide mihaba. Recent works under his new name of
Kiyomune tend to reflect a redirection of effort to Soshu-den which shows a more active yakiba
and open and more colorful jitetsu. In general his works tend to typify those of the Miyairi
School and his brothers work.
Inscriptions: Miyairi Kiyohira saku, Kiyohira saku, Minamoto Kiyomune.

Akitsugu Amada

His real name is Amada Seiichi. He was born 4 August 1927. He currently lives in Niigata
Prefecture. He enrolled in Japanese Sword Forging Institute in Tokyo on March, 1940 and
learned forging from Mr. Akihide Kurihara. Then he studied under Mr. Miyairi Akihira and
practiced for 7 years. After W.W.II, he presented his sword at the Sword Technique Competition
3 times. He earned his swordmaking license in 1954. He won 3 consecutive second prizes
awards. After the Sword Technique Competition changed its name to the Newly-made Fine
Sword Competition, he received a promotional award and an Honorable President award. In
September, 1972, he won the first Kunzan Award with Sumitani for his research of sandsteel
manufactured Tatara. Then, after winning seven second prizes and two first prizes he received
the mukansa title in 1973. In that same year he made a tachi for the Ise Shrine. After his
designation as mukansa, he won two Masamune prizes and became a judge of the Sword Making
Competition in 1975. In 1978 he was designated as a Important Cultural Asset of Niigata
Prefecture. He was designated Living National Treasure in 1997.
Inscriptions: Amada Akitsugu Saku Kore, Amada Akitsugu Saku

Toshihira Ozumi
His real name is Ozumi Sadao. He was born in 23 January 1934. He is from Gunma Prefecture.
He was one of the best students in the Miyairi school. Apart from the characteristics of his
master's Soshu-den, his main goal was set to make swords in Yamashiro-den and Aoe out of
Bitchu. He is good at making swords with the suguha temperline. He earned his swordmaking
license on 7 December 1957. He has won 7 first prizes. In addition he has won two Masamune
prizes. In 1971 he was elevated to mukansa status. In 1997 he was elevated to Living National
Treasure.
Inscriptions: Osumi Toshihira saku, Toshihira saku, Toshihira, Toshihira saku, Koozuke Kuni
Arata(?) ju Osumi Toshihira saku.

Tsuguhira Takahashi His real name is Takahashi Tsuguo. He was born on 13 April 1927. He is
from Nagano Prefecture. He enrolled in the Miyairi school in May 1947. He earned his
swordmaking license on 31 January 1959. In 1959 at the 5th Sword Technique Competition he
displayed his work and won an Irrespective Special Award (First Prize) one time. He has also
won the Excellence Award (Second Prize) two times, the Encouragement Award (Second Prize)
8 times, and the Endeavor Award 5 times (Third Prize). He has also been awarded the Kanzan
Prize. In 1989 he was elevated to mukansa status after winning eleven third prizes, ten second
prizes, and seven first prizes in sword competitions. He has made two swords for the Ise Shrine,
one in 1972 and one in 1985. He was designated as Important Cultural Asset by the Nagano
Prefecture in 1991.
Inscriptions: Shinano no Kuni Tsuguhira, Shinano no Kuni Sakaki Ju Takahashi Tsuguhira Saku
Kore, Shinano no Kuni Ju Tsuguhira Saku.

Tsunehira Kanbayashi

His real name is Kanbayashi Yuji. He was born on 12 January 1949. He currently lives in
Yamagata Prefecture. He entered the Miyairi school in 1967 and studied under Miyairi Akihira.
He earned his swordmaking license in 1973. Also, in 1973 he successfully presented his work at
the 9th Shinsakuto Meito Sword Competition, where he won the Endeavor Prize. He became an
independent smith three years later in 1976. He has won numerous prizes to include: 4 Endeavor
Prizes, 2 Encouragement Prizes, the Cultural Ministers Award 4 times, the Prince Takamatsu
Prize 2 times, and the Kanzan Prize once. He was promoted to mukansa status in 1985. In
addition to the school tradition of Soshu he also aspires to reproduce Yamashiro Rai and Nanki
Shigekuni.
Inscriptions: Tsunehira hori dosaku, Kanbayashi Tsunehira Saku.

Akimori Miyagi

Akimori's real name is Miyagi Shinichi. He was born on 6 December 1925. He is from Miyagi
Prefecture. In May 1940 he entered the Nihonto Tanren Denshujo (Japanese Sword Making
Institute) to study under Kurihara Hikosaburo Akihide. At the Japanese Sword Technique
Competition he won the Golden Cup Award and the Chairman Award. He earned his
swordmaking license on 31 July 1970. Also in that same year he apprenticed himself to Miyairi
Yukihira. He successfully presented his work at the 7th Shinsakuto Meito Sword Competition.
Since then he has won no less than 3 Encouragement Awards and 5 Endeavor Awards. He was
designated Important Cultural Asset by the Miyagi Prefecture in 1988. Akimoris objective is to
reproduce the works of the top Soshu smiths of the koto times at whom Kiyomaro aimed.
Inscriptions: Miyagi Akimori Saku Kore; Akimori Saku

Shigehira Watanabe
His real name is Watanabe Shigemi. He was born on 2 February 1942. He is from Niigata
Prefecture. He entered the Miyairi School in 1965. He earned his swordmaking license on 2
February 1971. He successfully competed in the 7th Shinsakuto Meito Sword Competition.
Since then he has received the Excellence Prize, the Encouragement Prize, and is a four time
recipient of the Endeavor Prize as well as successfully competed in 7 additional sword
competitions.
Inscriptions: Shigehira saku

Kunihira Kawachi

His real is Kawachi Michio. He was born on 1 October 1941. He is originally from Nara
Prefecture. He first enrolled in the school of Sadahiro Kita, later he enrolled in the school of
Miyairi in 1966. He earned his swordmaking license on 12 March 1971 and this was when he
first successfully presented his work at the 7th Shinsakuto Meito Sword Competition. In 1972 he
became independent and built his own forge. His favorite hamon is based on notare. He is good
at making hira-zukuri wakizashi in the style of Yamashiro-den. When compared to the more
senior students of Miyairi, he has learned his master's characteristics well. His goal is to make
swords as close as possible to the famous Koto swords. In a surprising turn, Kunihira apprenticed
himself under Sumitani Masamine in 1984 and learned Bizen-den. His awards include: 4
Encouragement Awards, 1 Excellence Award, 1 Endeavor Award, the Honorary Chairman
Award (a First Prize), the Prince Takamatsu Prize, 2 Kunzan Prizes, the Chairman of the All
Japanese Sword Association, and several other awards. He was elevated to mukansa level in
1987. He has made swords for the Ise and Katori Shrines in 1984 and 1990 respectively.
Inscriptions: Kawachi Kunihira Saku, Tame Yamagishi Ryosuke Shi Kunihira Saku

Masahira Fujiyasu

His real name is Fujiyasu Masahira. He was born on 10 November 1946. He is a resident of
Fukushima Province. He apprenticed himself to the Miyairi School in 1966 and earned his sword
making license on 17 February 1972. He first presented his work at the 8th Shinsaku Meito
Sword Competition. He then opened his own workship in 1975. He has won 3 Excellence Prizes,
6 Encouragement Prizes, and 7 Endeavor Prizes. In 1991 he won the Chairman of the All Japan
Swordsmith Association Prize. He has made a sword for the Ise Shrine. He has spent his time
trying to recreate the old Soshu style of the Nambokucho period. When his master died he took
up the the task of teaching his son Miyairi Kei the art of swordmaking.
Inscriptions: Masahira saku, Oite Shinano no Kuni Masahira Saku, Tatsugoyama junin
Masahira saku.

Takahira Kawachi

His real name is Kawachi Bunto?. He is a resident of Nara Prefecture. He first began his study of
swordmaking under his elder brother Kawachi Kunihira at the Japan Forging Institute in 1972.
He then apprenticed himself to Miyairi Yukihira in 1975 and by 1977 he was again studying
under his elder brother. He earned his swordmaking license in 1980 and became an indepedent
smith that same year. Also in that same year he successfully presented his work at the 16th
Shinsakuto Meito Sword Competition, where he won the Endeavor Prize. In 1981 he won the
Encouragement Prize.
Inscription: ? ju Kawachi Takahira tsukuru

Motohira Shinpo
His real name is Shinpo Motoharu. He was born on 4 September 1941. He is a resident of
Niigata Prefecture. He initially studied by himself from 1957 to 1962. Then he apprenticed
himself to Miyairi Akihira for swordsmithing and to Abe Akitada for carving. In 1997 and 1998
he won the Endeavor Prize. His first name was Soshiharu but later changed it to Motohira.
Inscriptions: Soshiharu, Sado no Kuni Shinpo Motohira tsukuru, Sado no Kuni oite Tatara Mine
Fumoto Shinpo Motohira hori dosaku.

Kazuhira Okubo

His real name is Okubo ?. He was born on 15 December 1943. He lives in Kanagawa Prefecture.
He apprenticed himself to Miyairi Akihira in 1961. He earned his swordmaking license in 1967
and became independent the same year. He sustained an injury while rough polishing a sword
and was not able to resume swordmaking until 1973. He has won several awards to include: 9
Third Prizes, 4 Second Prizes, and finally in 1991 he received a First Prize. In 1998 he won the
Chairman of the All Japan Swordsmith Association Prize. He learned Soshu-den but has since
began to study Bizen-den.
Inscription: Kazuhira saku

Akikuni Kondo

His real name is Kondo Tsutomu. He was born on 28 July 1918. He lived in and worked in Tosa
Prefecture. He initially apprenticed under Kurihara Akihide in 1940. He then studied under
Miyairi Akihira beginning in 1945. He has won various awards. His objective was Bizen-den.
Inscription: Shikoku Saburo Akikuni. Kondo Akikuni.

Hidetada Takaba

His real name is Takaha Mokoto. He was born 18 February 1928. He was a resident of Gifu
Prefecture. He apprenticed for 18 years under Nakata Kanehide who apprenticed under
Watanabe Kanenaga of Mino Province. He earned his swordmaking license on 15 February
1965. In that same year he also successfully presented his work at the First Shinsakuto Meito
Sword Competition. In 1969 he joined with the Miyairi School. In 1970 he established his own
forge in Seki. His objective was Shizu Kaneuji and Shinshinto Kiyomaro.
Inscription: Seki ju Hidetada saku kore

Nobuyoshi/Nobuhira

His real name was Keith Austin. He was born on 5 July 1934. He died on 20 April 1997. He first
went to Japan in 1961 to study art. However, soon after his arrival he became deeply interested
in Japanese swords. After the appropriate introductions he was apprenticed under Takahashi
Sadatsugu. After the death of his master he then apprenticed under Miyairi Akihira and then in
the same school he completed his training under under Ozumi Toshihira. He earned his
swordmaking license on 14 March 1968. He successfully presented his swords at the 4th, 5th,
and 6th Shinsakuto Meito Sword Competition. He first used the name Nobuyoshi and later
Nobuhira. He returned back the United States in 1970 and settled in Yuba City California. He
built his forge and began his search for American materials to forge his Nihonto. He made
swords in various traditions.
Inscriptions: Nobuyoshi, Nobuhira.

Kei/Yukihira Miyairi
His real name is Miyairi Kei. He was born on 26 August 1957. He currently lives in Nagano
Prefecture. He first began his apprenticeship under his father Miyairi Akihira in 1977. However,
when Akihira died suddenly, his training was completed under Fujiyasu Masahira who was the
senior student at that time in the Miyairi School. He earned his swordmaking license on 10
December 1982. In 1983 he became independent. In 1984 he successfully presented his work at
the Shinsakuto Meito Sword Competition where he won the Endeavor Prize. Since that time he
has won the Endeavor Prizes again in 1984, 1985, 1987, 1988, and 1989. He has won the
Excellence Prize in 1986. He also won the Kanzan prize in 1990. In 1991 he was awarded the
Meiichi Shinbun Prize. In 1993 he received the Prinze Takamatsu Prize. In 1997 he won an
Encouragement Prize. In 1998 he again received the Prince Takamatsu Prize. His objective is
Soshu-den, specifically Shizu Kaneuji.
Inscriptions: Shinano ju Miyairi Kei tsukuru kore

Kiyoyuki Furukawa

His real name is Furukawa Nobuo. He was born on 2 January 1948. He lives in Nagano
Prefecture. He apprenticed himself to Miyairi Kiyohira in 1972. He earned the swordmaking
license 1 March 1978 and became independent in1981. He first presented his work at the 14th
Shinsakuto Meito Sword Competition. He has won the Endeavor Prize in 1981, 1982, 1983,
1984, 1988, 1990, 1991, 1992, 1994 and 1993. He has was won the Excellence Award in 1985,
1986, and 1989. In 1984 he also won the Kanzan Prize. In 1997 he won the Kunzan Prize. In
1998 he won the NBTHK Chairmans Prize. His objective is Soshu-den.
Inscriptions: Kiyoyuki tsukuru, Shinano no Kuni Kiyoyuki

Kiyotoshi Izumi -( Kiyohira's student)

His real name is Izumi Hideaki. He was born 15 June 1959. He lives in Nagano Prefecture. He
apprenticed himself to Miyairi Kiyomune in 1982. He earned his swordmaking license in 1988.
In 1989 he successfully presented his work at the 26th Shinsakuto Meito Sword Competition. In
the same year he became an independent smith.
Inscription: Shinano no Kuni Kiyotoshi

Tsuguyasu Matsuda

His real name is Matsuda Shuji. He was born 27 July 1958. He lives in Chiba Prefecture. He
apprenticed himself to Takahashi Tsuguhira in 1974. He earned his swordmaking license in
1979. The following year he successfully presented his work at the 16th Shinsakuto Meito Sword
Competition. Then, in 1981 he became an independent smith. Since then he has won the
Endeavor Prize 6 times and the Excellence Prize twice.
Inscription: Tsuguyasu saku

Norinari Yoshida

His real name is Yoshida Morimitsu. He was born 28 July 1930. He is a resident of Toyama
Prefecture. He earned the swordmaking license in 1972. He successfully presented his work at
the 20th Shinsakuto Meito Sword Competition in 1974. He has studied under Onishi Sadanari,
Takahashi Tsuguhira, and Miyairi Yukihira.
Inscription: Etchu Shi Namaatari Norinari saku

Hiromune Takaha - (Hidetada's son/student)

His real name is Takaha Hiro. He was born on 5 October 1944. He currently lives in Gifu
Prefecture. He first studied swordmaking from his father Takaha Hidetada in 1973 and earned
his swordmaking license in 1978. In that same year he successfully presented his work at the
14th Shinsakuto Meito Sword Competition. Since that time he has been awarded the Endeavor
Prize two times. He followed his father and later joined with the Miyairi School in 1991. His
objective has been Shizu Kaneuji and Minamoto Kiyomaro.
Inscription: Takaha Hiromune saku

Korehira Watanabe

His real name is Watanabe Tetsu?. He was born on 1949. He is a resident of ?. He apprenticed
himself to Miyairi Yukihira in 1974. He completed his apprenticeship under Watanabe
Shigehira. He earned his swordmaking license on 16 March 1979. Also in 1979 he successfully
presented his work at the 15th Shinaskuto Meito Sword Competition and he also became an
independent smith. Since then he has presented his work at the Shinsakuto Meito Sword
Competition 10 times and he has won the Endeavor Prize twice.
Inscription: Watanabe Korehira saku

Kanehira Akiba

His real name is Akiba Masami. He was born on 24 March 1944. He is a resident of Hyogo
Prefecture. He apprenticed himself to Miyairi Yukihira in 1974. He completed his apprenticeship
under the direction of Takahashi Tsuguhira beginning in 1977 when Yukihira died. He earned
his swordmaking license in 1979 and became an independent smith the following year. In 1980
he also successfully presented his work at the 16th Shinsakuto Meito Sword Competition. In
1989 he was awarded the Endeavor Prize. In 1997 he won the Encouragement Prize.
Inscription: Tajima no Kuni Kanehira

Sumihira Manabe

His real name is Manabe Kazunari?. He was born on 3 October 1953. He is a resident of Hyogo
Prefecture. He apprenticed himself to Miyairi Yukihira in 1975. He completed his apprenticeship
under Kawachi Kunihira. He earned his swordmaking license on 15 July 1980. In 1981 he
successfully presented his work at the 17th Shinsakuto Meito Sword Competition. He then
became an independent smith in 1982. Since that time he have won three Excellence Prizes, and
9 Endeavor Prizes.
Inscription: Sumihira saku

Shinpei Kato

His real name is Kato Masanari?. He was born on 28 January 1957. He is a resident of Tochigi
Prefecture. He apprenticed himself to Miyairi Yukihira in 1975. However, he had to complete his
apprenticeship under Kanbayashi Tsunehira in 1977. He earned his swordmaking license on 8
November 1980. In 1981 he successfully presented his work at the 17th Shinsakuto Meito Sword
Competition and also won an Endeavor Prize. Two years later he became an independent smith
in 1983. He has since won another Endeavor Prize.
Inscription: Geya ju Shinpei saku

Kiyonao Matsukawa
His real name is Matsukawa Takashi. He was born on 9 August 1955. He is a resident of Nagano
Prefecture. He apprenticed himself to Miyairi Kiyomune in 1972. He earned his swordmaking
license in 1979. In that same year he successfully presented his work at the 15th Shinsakuto
Meito Sword Competition. In 1982 he became an independent swordsmith. Since that time he
has successfully competed 8 times and has received the Endeavor Prize three times. In 1998 he
received the Encouragement Prize.
Inscription: Kiyonao saku

Kiyochika Kanehama - (Kiyohira's student)

His real name is Kanehama Noboru. He was born on 15 December 1951. He lives on Okinawa.
In 1974 he apprenticed himself to Miyairi Kiyomune. He received his swordmaking license in
January of 1980 and also successfully presented his work at the 16th Shinsakuto Meito Sword
Competition. In 1983 he became an independent swordsmith. He has won the Endeavor Prize.
Inscription: Ryukyu Ori ju Kiyochika saku

Yoshifusa/Yoshihisa Sato

His real name is Sato Tomokichi. He was born on 25 May 1907. He lived in Tochigi Prefecture.
He apprenticed himself to Miyairi Akihira. He has used two names: Yoshifusa and Yoshihisa.
Inscription: Shimotsuke ju Sato Yoshifusa, Kawamura Yoshihisa, Yoshihisa.

Yoshiharu Shimpo

His real name is Shimpo Motoharu. He was born on 4 September 1941. He resides on Sado
Island. He apprenticed under Miyairi Akihira. He earned his swordmaking license in 26
December 1961. His objectives include: Sukezane and Chogi of Bizen and Shintogo, Kunimitsu
of Soshu, and Shinshinto Kiyomaro.
Inscription: Yoshiharu saku, Sado Fuku-ura junin Shinpo Yoshiharu saku.

Over the course of the years, several of the smiths listed in the geneology have either ceased
production of swords due to ill health or death. Several smiths have received titles or Mukansa
status, to include: Ozumi Toshihira, Amada Akitsugu, Takahashi Tsuguhira, Kanbyashi
Tsunehira, Kawachi Kunihira, and newly designated Mukansa includes Miyairi Norihiro who is
the son of Miyairi Kiyomune. Interestingly enough. While Miyairi Norihiro is shown as falling
under Miyairi Kiyomune's disciples this not entirely accurate. It is unknown if Norihiro formally
apprenticed under his father. It is known that he served an apprenticeship under Sumitani
Masamine, the current Living National Treasure and whose objective is currently the pursuit of
the Bizen-den.. There is much speculation about the possibilities of combining the potential of
two very exceptional schools in one person and there are great expectations on Miyairi
Kiyomune's son in any event. It is also interesting to note that Miyairi Kei, son of Miyairi
Yukihira, was only beginning his training when his father, Yukihira died unexpectedly. At that
time, Fujiyasu Masahira, one of the senior students in the Miyairi school at that time took the
responsibility to complete Miyairi Kei's apprenticeship. It is unclear why Miyairi Kiyohira did
not assumed this responsibility when he became the head of the Miyairi school. Perhaps this can
be explored at some other time. In any event, Miyairi Kei has become a fine swordsmith in his
own right and recently changed his name to that of his father's name Yukihira.

Brief Comparison of the Work of Miyairi Kiyohira/Kiyomune Past and Present

Miyairi Eizo was born on 1 May 1924. He currently resides in Nagano prefecture. He first began
studying the forging techniques under his elder brother in April 1941. In July 1948 he became
independent and on 31 January 1959, he acquired the sword making license. In the Sword
Making Competition held annually he has won six third prizes, and 15 first and second prizes.
He made sacred swords for the Ise Shrine in 1962 and 1985. Kiyomune has focused primarily on
Soshu-den with the specific objectives of Kiyomaru, Sadamune and Kaneuji. The two sword
examples discussed here exhibit the Nambokucho style, namely broad, untapered shallow sori
suguta with large kissaki. Both swords are presumed copies of Kiyomaru works which
themselves are presumed copies of earlier works. The tanto however tends to reveal Kiyomune's
fully matured style and mastery of Soshu-den. Sadly, shortly after acquiring the tanto in August
1996, the owner was informed that Mr. Miyairi Kiyomune had become ill from a kidney
affliction and was not planning to return to the forge for the foreseeable future. We all hope this
is not the case and pray for his speedy recovery and return to the forge.

The two works, by the same artist, are separated by a period of more than 25 years. One might
expect to see an almost completely different style or level of skill. One might even expect some
decrease in the level of skill of Kiyomune at the grand age of 72. However, no such diminution
in performance is seen. Instead, the level of skill between both works is consistently high with
the exception that the later work exhibits considerable maturity. Moreover, there is a much
bolder look to the tanto. The jitetsu of both are well forged, yet the tanto is much more full of
expression, color, and a variety of texture with profuse chikei. The hamon explodes with activity,
not just in areas to tease us, as in the case of the tachi, but rather from top to bottom, from ha to
mune. Both show considerable skill, but the later one clearly demonstrates even more confidence
and maturity. In contrast, the tachi seems designed for a more purposeful existence. The tachi
shows restraint, and the quality of the tachi's polish tends to reinforce this impression. The polish
of the tachi does not bring out all the detail in the tachi to the extent of the tanto. In summary the
two blades, in general, are similar yet one can somehow sense a definite maturation in the later
piece.

Kiyohira Tachi

Signature: Miyairi Kiyohira saku / A day in February 1971

Dimensions:
Ha Watari: 79.5 cm Sori: 1.8 cm
Moto Haba: 2.1 cm Saki Haba:2.4 cm
Moto Kasane: .65 cm Saki Kasane: .60 cm

Suguta: Tachi, shinogi-zukuri, iori-mune, o-kissaki, shallow tori-sori.

Jitetsu: Very tight mokume with some masame mixed in along the ha

Hamon: O-gunome-midare, streaming sunagashi especially towards the ha-machi, chikei and
utsuri.

Boshi: Midare with hakikake, sharp medium turnback

Horimono: none.

Nakago: Kuri-juri, suji-chigai yasuri, one mekugi ana

Comments: This style of tachi represents a typical Nambokucho suguta being broad from top to
bottom, no funbari, shallow tori-i-sori, o-kissaki, no hiraniku, very thick dimensions over-all,
giving the impression of being a very powerful blade.

Kiyomune Tanto

Signature: Minamoto Kiyomune / A day in August 1996

Dimensions:
Ha Watari: 29.6 cm Sori: .40 cm
Moto Haba: 29.0 cm Saki Haba: 27.0 cm
Moto Kasane: .60 cm Saki Kasane: .60 cm

Suguta: Sunobi, hira-zukuri, iori-mune, slight sori.

Jitetsu: Large itame with mokume and masame along the mune, much chikei, especially along
the forward portion. Hada stands out, accentuated by the contrasting patterns and colors of light
and dark steel layers.

Hamon: Gunome-midare, profuse streaming sunagashi, kinsuji, ashi reaching close to the ha,
much ji-nie.

Boshi: Jizo with some hakikake

Horimono: Bo-hi on both sides that is chiseled halfway through the tang and 2/3 the way to the
kissaki

Nakago: Shallow kuri-jiri, suji-chigai yasuri, one mekugi-ana

Comments: This tanto is a fairly typical style for the Nambokucho Era, and one which Kiyomaru
also made. The style is a long and broad hira-zukuri known as the sunobi style. This style tanto
would eventually evolve into the wakizashi in later years.

Bibliography

1. Gendaito Meisaku Zukan, by Kazuo Iida. This book provided some of the biographical data
for some Miyairi smiths. Japanese text.

2. The Beauty of the Shinsakuto, by Onishi Bijutsu Token and the 21st Century Committee of
the Japanese Sword Culture, Japanese text w/English translation by Kenji Mishina. This book
provides one of the most recent biographical updates on gendai smiths to include Miyairi
Kiyomune and other Miyairi school disciples.

3. The Disciples of Living National Treasure Miyairi Yukihira, by Takayama Takeshi. This
small booklet provides a short history of Miyairi Yukihira and several examples of his work. It
also contains brief biographical information of current living Miyairi school students, oshigata,
brief description of smith works and a geneology chart of disciples. Japanese text. Printed by the
Meiichi Shinbun Publishing, 1994.

4. Gendai Toko Meikan, by Sato Kanzan. This small book lists short biographies on many of
the known, active smiths from the Gendai period. The book list smiths in order of precedence of
most important to least important. It also lists s which smiths had died as of the printing of the
book in 1970.