There are two main types of sword polish available currently. It’s likely the case that neither are the original style of polishing a sword nor is that even something that we should be thinking about.
The goal of polishing is primarily functional: remove rust and chips, and make the edge fine. The more you used your sword to fight the more frequently you would have to polish it as a result. The concept of artistic polishing that enhances the beauty of the sword is something that comes with the goal of preserving the sword and appreciating it for something more than a simple tool of war.
When I started collecting a long time ago now, there were people who fervently supported the idea of sashikomi polish in all cases in the mistaken idea that it is somehow more authentic or better for appreciating swords. As with many things, taking an imbalanced viewpoint can bring you to the wrong conclusion.
Continue reading Sashikomi
I’m doing some research right now for a daisho that I will be listing soon. As part of this, I counted the top ten smiths by simple output of blades ranked Tokuju, Juyo Bijutsuhin, Juyo Bunkazai and Kokuho combined.
This is the list as a simple point of interest.
- Osafune Nagamitsu 
- Rai Kunimitsu 
- Osafune Kanemitsu 
- Soshu Masamune 
- Rai Kunitoshi 
- Saeki Norishige 
- Rai Kuniyuki 
- Osafune Kagemitsu 
- Niji Kunitoshi 
- Ko-Bizen Masatsune 
Some notes on this… Niji Kunitoshi and Rai Kunitoshi are the same smith by modern standards. So if we add their output together he places second overall, with 96 total works, and this would move Masatsune into 9th slot and Soshu Sadamune will then slide into 10th spot.
Both Nagamitsu and Rai Kunitoshi benefitted from having large numbers of high level master smiths working under them. Kanemitsu and Kagemitsu also both benefitted from this.
But the interesting thing for me in looking at this list is how it is almost evenly split among Kamakura period Soshu, Rai and Osafune output. It illustrates very well the reverence in which these schools and smiths are held.
Awataguchi Yoshimitsu is one of the finest smiths to have ever lived, and is mostly thought to be the best tanto maker of all time.
I was doing some research lately and found a blade that had more info than I could really understand with my basic Japanese. I talked to Markus Sesko about it and he uncovered a lot of interesting information.
It ended up that this was the blade used by the famous tea master Sen no Rikyo to commit seppuku. Have a read about it on Markus’ blog.
I just want to spend a few minutes to clarify the difference between these terms. There is some confusion out there and as soon as three people repeat the wrong thing it becomes truth.
Meito: This is a sword with a name (a Gō 号). Any sword can have a name. What we primarily care about this though is a historical name, that is, the blade in question had a name during the Edo period. An example here is the Sunnokina Masamune. It is simply a Masamune that came down through the Edo period with a nickname. This term meito is also used to casually indicate swords of great quality and importance, that may in fact have no name (but we imagine they would be worthy of one). There are no legal restrictions on ownership or movement of meito. Sometimes the NBTHK will indicate a name for a sword in the Juyo or Tokuju papers, in other times it can be discovered through other books or often on the sayagaki where an authority has preserved the name. Sometimes the name comes down with no history at all.
Meibutsu: These are special meito that are on the list of the Kyoho Meibutsu Cho, the most famous swords in the country in Edo period Japan. These also have no restrictions on ownership. However, many of these also happen to be Juyo Bijutsuhin, Juyo Bunkazai and Kokuho and as a result of that kind of status, would be illegal to export from Japan. An example of this would be the Kanze Masamune.
All meibutsu are meito but not all meito are meibutsu.
Utsushi also sometimes take the name of the source blace, for instance Kunihiro coped the Yamanba-giri Chogi, the resulting copy also became famous over the years and so took on a similar name to the original, becoming the Yamanba-giri Kunihiro. Both blades in this situation are meito, but not meibutsu, and both are Juyo Bunkazai making them illegal to export from Japan.
We all dread the fatal flaw.
These tend to be hidden on rusty blades, and revealed by polish.
Depending on who made the blade and when, a fatal flaw will send the value to zero. Sometimes however, the balance of positives in a sword allow it to be appreciated and even paper to the top levels, with a so-called “fatal flaw” present.
Continue reading Fatality
It’s necessary to know that different experts from different time periods saw different swords, and those swords that they saw form the basis for their judgments. For instance Soshu Sadamune signatures have been recorded but today we can’t find those blade or some dispute is made over the signatures. Unfortunately we do not have the actual work and cannot comment on it, other than that an old expert thought it was good and included it in their oshigata references. This implies at least that the work was as good as the signature proclaimed it to be.
The problem here is demonstrated by a parable called The Blind Men and the Elephant.
Continue reading How many Motoshige?
As the sword will be judged differently by men of different interests, you must be very careful in its selection. Some are foolish enough to pass judgment on a sword which they cannot really understand, others will not speak the truth although they see it.
The merchant may speak falsely in order to sell his wares.
If a blade belongs to some nobleman, or if it is appreciated as a family treasure, or if the possessor is very proud of its supposed qualities, the true judgment will often be withheld through courtesy. When you would have any sword truly judged, you must commit it unreservedly to a judge of absolute sincerity.
— The Complete Manual of the Old Sword (ca. 1793)
Nothing has changed.
This book is free here on JSTOR.
Bear in mind there are some transcription errors. Since it was translated over 100 years ago there is some Olde Tymey romanization as well. I find these old books fascinating as sometimes they confirm things that took us a long time to get to. For instance, this book relays the story of Niji Kunitoshi changing his name to Rai Kunitoshi at the age of 38 and names him Magotaro.
With the most useful data we have now, the last signed and dated Niji Kunitoshi is indeed at the age of 38 and the first signed and dated Rai Kunitoshi blade appears at age 49. Until Tanobe sensei put the lid down on this theory, there was a lot more belief that these were two separate smiths. Rai Magotaro Saku is also on a blade which is now Kokuho (National Treasure) and attributed to Kunitoshi.
Sometimes the old books have truths in them that were forgotten, and in the meantime people came up with some new fanciful stories. Not everything in an old book is going to be agreeable. They are however important things that fill in the gaps or at least provide some fertile ground for modern analysis.
With some help from Ted Tenold, I’ve put together a nice modern sword care kit to replace the uchiko-based kits-o-death that are commonplace destroyers of swords everywhere.
I’m supplying these for free to first time buyers of high quality swords from my site. So if you were looking for a reason to drop $50,000 on a sword, it has arrived.
Continue reading A better way
I had a good question come in about my references to lower tier schools, and the question asked me to reflect on what were the top tier schools. You can find in Nagayama’s good listings of the Leading Schools for each time period. I think every collector should have this book. It was out of print for a while and prices went way up, but it is back in print now and you can buy it following that Amazon link (which does not make me money, just get this book and use it).
Trying to get a handle on which schools are the best actually seems easy at first but it gets a little bit complicated the deeper you dig.
Continue reading Pass Factor
Law Returnable or negotiable in kind or by substitution, as a quantity of grain for an equal amount of the same kind of grain.
Something that is exchangeable or substitutable. Often used in the plural.
If you want to properly understand attributions, you need to understand this concept thoroughly.
Continue reading Fungible (fŭnˈjə-bəl)
I am glad my post on green papers is getting some traction and the issue is being discussed. There is some of the expected harrumphing and finger pointing going around as people are reacting to the information, and I suggest to not get distracted by it. No handwaving is required and no conspiracy theories necessary about this being a scam wherein the NBTHK accuses itself of fraudulent papers in order to get people to pay twice for papers (kind of like shooting yourself in the face in order to claim insurance).
This is the appropriate response if you think your green papers are good:
I GUARANTEE IT.
If you really believe in it, you can do it.
Continue reading Green Papers Pt. 2
One word can bring the dancing thought of undiscovered treasure through your mind, and it can also bring the crushing thought of buying a fake.
eBay has its place as a useful tool, but there are a few things to keep in mind. None of this will be news for experienced collectors, but is a short overview for people new to this hobby.
Continue reading eBay
This is a magic number that you may or may not know.
70 centimeters and above for a katana is considered premium length. Below this is can be detrimental to the value of a blade.
There are reasons for this.
Continue reading 70 centimeters
A nice to have on everyone’s list… the daisho. The name literally means “big-small” and refers to the pair of swords that only a samurai was authorized to wear.
There are some simple basics about daisho and some misconceptions. The learning curve is shallow but some people skip over the essentials, and it can cause some damage.
Continue reading Daisho