Category: Activity

Solingen Germany, July 19th 2025, NBTHK-EB Meeting

The fourth NBTHK-EB meeting of the year was once again held at the Klingenmuseum (“Blade Museum”) in Solingen.

Even it’s summer holiday season, a group of 20 members joined the meeting which had the topic “Edo Ishido School” for blades and “bring an tell” for tosogu.

Even it was just a small regular meeting, the members could see some fantastic juyo tsuba from Nobuie, Yamakichibei and Hoan, together with Owari, Kanayma and a small Akasaka collection.

Four blades by the famous blacksmith of the Edo Ishido school, “Heki Mitsuhira,” were shown, one of them was just presented in this years NBTHK magazine issue 817 “Token Bijutsu”.

Another treat was a signed “Kamakura Ichimonji” Katana by Suketsuna (Juyo). Ichimonji served as a model for the blades that the Edo-Ishido school tried to copy. Please note that currently only four signed Suketsuna blades are known.

Kantei

1. Wakizashi – Heki Mitsuhira (Hozon)
2. Katana – Heki Mitsuhira (Hozon)
3. Katana – Suketsuna Kamakura Ichimonji (Juyo)
4. Wakizashi – unsigned – prob. Kecho Shinto
5. Katana – unsigned – prob. Mihara
6. Wakizashi – Dewa no Kami Hokkyō Minamoto Mitsuhira (Tokubetsu Hozon)
7. Katana – Dewa no Kami Hokkyō Minamoto Mitsuhira (Tobubetsu Hozon)

This is the translation for #7, the Heki Mitsuhira katana from the Februar 2025 (817) issue of the Token Bijutsu:

Katana
mei: (Kiku-mon) Dewa no Kami Hokkyō Minamoto Mitsuhira (「菊紋」出羽守法橋源光平)
nagasa 75.7 cm, sori 1.2 cm, shinogi-zukuri, iori-mune
ji: rather standing-out itame that features plenty of ji-nie and a faint midare-utsuri
hamon: chōji-midare in ko-nie-deki with a bright nioiguchi that is mixed with ko-chōji and ō-chōji,
that displays noticeable undulations, and that features fukuro-chōji, kawazu no ko-chōji,
gunome, some togariba, ashi, yō, prominent mura-nie in places, sunagashi, and some tobiyaki
bōshi: sugu with a brief ko-maru-kaeri and some hakikake at the tip

We know dated blades by Dewa no Kami Mitsuhira (出羽守光平) that range from Kan’ei 21(寛永, 1635) to Tenna three (天和, 1683), meaning that he was active for a long period of roughly 50
years. Accordingly, the sugata and dimensions of his blades vary. Already in his eary phase, when he signed with the supplement Taishin Hokkyō (泰信法橋), and in his later phase, that is, even after the
classical Kanbun-Shintō phase, Mitsuhira produced blades with a long nagasa, a shallow sori, and a somewhat elongated chū-kissaki. That is, his sugata does not strictly follow the characteristics of shape
of each period, a feature of his, which may go back to the specifications of his clients. With the utsuri and the flamboyant midare-utsuri, the blade obviously aims at the style of the Ichimonji (一文字) School, but the sugata a tachi-sugata, but a katana-sugata. Also, the shinogi-ji is
relatively wide in ratio to the mihaba, and the shinogi is low, which corresponds to an interpretation that is fairly typical fot the Kanbun era (寛文, 1661–1673). There is also prominent masame in the
shinogi-ji, and despit of the flamboyant hardeningm, the bōshi is an unobtrusive sugu-bōshi with a komru-kaeri. Thus, with the time period in question, the majority of participants recognized that the
Kantei blade is a work of an Edo-Ishidō (江戸石堂) smith. In addition, the nioiguchi and the ashi and yō are of a more “hard” and “stiff” appearance than seen with Kotō blades, and the valleys of the
yakiba are relatively far away from the cutting edge, which differs from a Kotō approach as well. Within the Edo-Ishidō group, Mitsuhira is known for forging in a rather standing-out kitae and for
hardening in a chōji with prominent undulations, which elements vary in size, width, and shape. Also mura-nie often occur, and all of this is present at the Kantei blade, which resulted in many direct bids
on this smith. When it comes to bids on other Ishidō smiths, it should be pointed out that Tsushima no Kami Tsunemitsu (対馬守常光) mostly hardened a densely arranged chōji with few undulations. Tatara Nagayuki (多々良長幸) often made blades with a nagasa as seen here, but his nioiguchi is the tightest of this group and he usually hardened prominent togari elements and a midare-komi bōshi with a pointed kaeri that runs back in a long fashion, and his blades are overall of a more powerful and “sturdy” appearance. The yakiba of Fukuoka-Ishidō works tends to slant noticeably, and the bōshi is usually a midare-komi, with also masame appearing, and therefore we can recognize clear differences.

If you are interested in this katana, please feel free to contact me as it is currently for sale.

Berlin Germany, May 10th 2025, NBTHK-EB Meeting

A total of 41 members and guests from several European countries met on 10 May 2025 for a meeting of the NBTHK-EB at the Research Center of the Samurai Museum Berlin.

Unfortunately, this time I was unable to attend the NBTHK-EB in Berlin. So I missed the lecture on sword decorations of the Umetada school and the exhibition of some exquisite tsuba from the museum’s collection and from private collections.

The quality of the 23 blades presented was exceptionally high, ranging from Tokubetsu Hozon to Tokubetsu Juyo. Although I was unable to attend the meeting, a blade from my collection was on display. I thank the NBTHK-EB for organizing the event, and the museum and other collectors for generously providing their blades.

Here is the list of featured blades that will make your mouth water:

• 1 Ko-Hoki Tachi, “Norinawa”, juyo
• 2 Ko Hoki Tachi, mumei, attributed to Yasutsuna, juyo
• 3 Tachi, mumei (Rai Kuniyuki), tokubetsu juyo
• 4 Tachi, “Chikusen ju Yasumune saku”, gendaito, Rai Kuniyuki utsushi
• 5 Tachi, mumei, attributed to Rai Kunitoshi, juyo
• 6 Tachi, mumei, attributed to Ryokai, juyo
• 7 Wakizashi, mumei, attributed to Nakajima Rai, juyo
• 8 Tachi, mumei (kinzogan Rai Kunimitsu) attributed to Rai Kunimitsu, tokubetsu juyo
• 9 Tachi, “Bitchu no Kuni ju Kunitsugu”, tokubetsu juyo
• 10 Tachi, mumei, attributed to den Yukimitsu, tokubetsu juyo (kantei blade)
• 11 Katana, „Sashu ju Masayoshi“, tokubetsu hozon (kantei blade)
• 12 Tachi, mumei, den Chogi, tokubetsu juyo
• 13 Wakizashi, den Hasebe, juyo
• 14 Katana, „Bizen no Kuni ju Yosozaemon no Jo Sukesada saku“, dated 1533, juyo,
  (kantei blade)
• 15 Wakizashi, “Iga no Kami Kinmichi”, juyo
• 16 O-Katana, “Hizen no Kuni Saga ju Kawachi Daijo Fujiwara Masahiro saku”, dated
  1648, tokubetsu hozon
• 17 Wakizashi, “Yonezawa-shin Chounsai Tsunatoshi” dated 1832, tokubetsu hozon,
  (kantei blade)
• 18 Naginata, “Koyama Bizen (no) Suke Munetsugu” dated 1858, juyo
• 19 Katana, “Koyama Bizen (no) Suke Munetsugu”, juyo
• 20 Katana, Yamaura Tamaki Masayuki (Kiyomaro) (1839), tokubetsu hozon
• 21 Tanto, Kiyondo, tokubestsu hozon
• 22 Tanto, Kiyondo, tokubetsu hozon
• 23 Tanto, Masao, tokubetsu hozon

Solingen Germany, April 26/27 2025, Collectors Meeting

On a really beautiful and summer like weekend the “Edged Weapons Collectors Meeting 2025” – or in German “Blankwaffen Sammlertreffen 2025” – took place in Solingen at the “Klingenmuseum”.

I was asked by another member if we should represent the NBTHK-EB at this meeting and so we did.

Around 15 to 20 collectors from Germany, France and even Finland presented parts of their collections. On each day 50 visitors came to enjoy the exhibition and listened to the six lectures:

• Development of the Heavy Cavalry Saber Model An 9 to An 11
• The Use of the “French Form” Cavalry Saber in the Prussian Army
• Battlefield Wounding in the Napoleonic Era – The Role of Edged Weapons and Firearms
• The Depiction of Edged Weapons in Portrait Paintings of the Napoleonic Wars
• “Debits and Credits” – The Sales Ledger and Accounting Book of the “Gebrüder Weyersberg” Trading Company from 1801 to 1807
• „Vous êtes venus dans ces contrées…” – The Sword of the Egyptian Institute

Since I had no knowledge of sabers at all, there was a lot for me to learn. Interestingly, we were able to identify some similarities between the sabers on display and Japanese swords.

As between lectures, we did our best to explain Japanese swords and tsuba to visitors and other collectors at our booth. It seems we succeeded, as we’ve been invited back next year—and, of course, we’re also scheduled to give a lecture.

Solingen Germany, March 22nd 2025, NBTHK-EB Meeting

The second NBTHK-EB meeting of the year was once again held at the Blade Museum in Solingen.

As spring seems to be finally arriving, a group of twenty members attended the meeting on this warm and sunny day. Some members traveled long distances from Germany, France, Belgium, and Luxembourg.

The theme was a very general “bring and tell,” but the exhibited items were a real treat.

Kantei #1

1. Naginata – Kanesaki, Settsu, late Muromachi period
2. Wakizashi – Kato Chounsai Tsunatoshi, Shin-Shinto,
3. Naginata – Koyama Bizen no Suke Fujiwara Munetsugu – Juyo
4. Katana- Kuniyasu (国安) (Horikawa, 堀川) – Juyo
5. Katana – Iyo Daijō Katsukuni (published in Tōken-Bijutsu 02-2025 No. 817)

Kantei #2

1. Tanto – Bishu Osafune Tomomitsu (moroha-zukuri, ~1530)
2. Tanto – Yukimitsu and Sukesada (moroha-zukuri form), dated 1547
3. Wakizashi – mumei Yamato Shikkake school, Muromachi
4. Ko-Gatana – Ono Yoshimitsu
5. Wakizashi – mumei, probably Kaga

For kodogu the topic was „Hoan“, therefore together with two Hoan tsuba a signed Yamakichibei and two Ko-Akasaka tsuba where shown.

Another excellent tsuba was a work from the Sekibun school – moko no to tsuba with the motif of a ferocious tiger. The tsuba is signed: „Yurakusai + kaō Sekibun at the high age of 82 – Legitimate son and heir Katsura Masatoshi, resident in Oizumi in the Pr. Dewa’“. It is a joint work by Yurakusai Sekibun and his 4th son and heir Katsura Masatoshi.

Regardless of the theme, a group of Higo tsuba from each representative school was shown: Hirata Hikozo, Hayashi, Kamiyoshi, Nishigaki and Shimizu Jingo.

Solingen Germany, January 18th 2025, NBTHK-EB Meeting

The first NBTHK-EB meeting of the year took place in the Blade Museum in Solingen. On this cold but sunny Saturday, around twenty members from Germany, France and Belgium came together again to study swords of the “Yamato” tradition, the theme of this meeting. But surprise, surprise, one member brought his top-class juyo “Soshu” collection, so the first round of swords was dedicated to this tradition instead:

1. Katana – Masatsune (Ko-Aoi)
2. Tanto – Norishige
3. Tanto – Shintogu Kunimitsu
4. Tanto – mumei Sadamune
5. Wakizashi – Muramasa (1. Gen)
6. Katana – Masashige – shin-shinto

1. Katana – Yamato Taima (Juyo)
2. Katana – Senjuin (before Juyo shinsa) => Shikake (after Juyo shinsa)
3. Katana – Senjuin
4. Katana – Senjuin
5. Katana – Sue Tegai (with Koshirae)
6. Wakizashi – Dewa Daijo Kunimichi (shinto – to test and deceive members)
7. Wakizashi – Tegai mumei Kanekiyo
8. Katana – Hosho

Since it was the first meeting in the Year of the Snake, Tosogu with the “Snake” design were introduced along with some “Winter” designs.

Kumamoto – Shimada Art Museum, October 25/26/27 2024, Kokusai Tosogu Kai 2024 Convention

For me personally, the highlight of the year, besides having a booth at DTI, was the KTK convention in Kumamoto, Japan, where I was invited to exhibit some pieces of my collection.

Since it was the 20th exhibition, it was a great milestone and anniversary of this private association of lovers of Japanese sword ornaments – Tosogu.

As usual each KTK member was invited to display some highlights of their collection. As this years KTK convention took place at the Shimada Art Museum in Kumamoto, which is located in the former province known as Higo, it was obvious for me to show some high quality Higo tsuba.

These tsuba will also be included in the next KTK catalog (write me an email if you need a copy). Read the description of the tsuba at the end of this article.

I imagined other KTK members would greatly enjoy Higo tsuba in the province they where once made.

Even if the journey to Kumamoto took a great amount of time and energy, in hindsight it was a great idea, because during the KTK convention, the Shimada Art Museum was open to the public. Therefore whole Japanese connoisseurs including their families came to the museum to view the exhibition.

Among the visitors was Ms. Setsu Yamazaki, the director of the Yatsushiro City Museum.

Unfortunately her museum was temporally closed due to renovation, therefore I could not pay a visit, but I was able to show her some more of the tsuba I brought, including some signed “Yatsushiro” which she deeply enjoyed. It was a great honor and pleasure presenting her these works of art.

The convention took a lot of effort to organize, I thank the Shimada Art Museum for hosting the event and the president of the KTK Mr. Nick Nakamura for the organization.

Big thanks to the other collectors who brought highlights from their collections and made the convention a great success. My favorite was a Japanese collector who, like me, brought several Higo-Tsuba, but on the level of Juyo and even Tokubetsu-Juyo, which I greatly admired and enjoyed.

As I said, it was a great honor and joy to present these tsuba to an international audience of tosogu connoisseurs and to see these works of art admired by the Japanese public.

It really felt a bit like the tsuba were coming home.

Next morning there was already an article in the local newspaper:

The convention ended with a large banquet with a spectacular view on the castle:

The town of Kumamoto is famous for it’s old castle Kumamoto-jō, also known as (銀杏城 Ginnan-jō, „Ginkgo-Nut Castle“ – which was build in the beginning of the Edo period from 1601 until 1607 – and can be visited.

Unfortunately, it was damaged during the earthquake of 2016 and is still being repaired.

I highly recommend visiting the castle if you are in the Kumamoto, as it belongs to the Nihon sanmeijō (日本三名城), “three significant castles of Japan“, next to Matsumoto and Himeji.

Further, Kumamoto has a very old garden “Suizenji-Park” (水前寺成趣園 / 水前寺公園). It was build by Hosokawa Tadatoshi staring in 1638 and is also worth a visit.

The exhibited tsuba

This tsuba has the shape of naga maru-gata with two hitsu-ana which reminds of pine cones. The base material is copper and the surface has remnants of black lacquer while the mimi is covered with an “odawara fukurin” made from shinchu. This kind of rim is an invention of Hirata Hikozo from the end of Momoyama period and is typically made from
a different material as the base material of the tsuba itself. As seen here, the odawara fukurin usually is decorated with two circles of increased dots: While the outer circle has bigger markings, the inner circle consists of significantly more of those dots but smaller,
reminding somehow on a watch face with markings for each minute. Also that some of those dots on the outer circle have punchmarks (omote, three o’clock position) are typical for this type of rim. (For a full explanation please read KTK 16th Catalogue 2020 “Odawara
Fukurin – it’s concept and origin” by Eckhard Kremers.) The tagane on the top and bottom of the nakago-ana are also typical of Hikozo, so that this tsuba, even though it is not signed, can clearly be attributed to him.

It is a large, impressive tsuba in the shape of mokko-gata and has two elongated hitsu-ana. The ground iron is good and well forged. While on the omote it looks even and homogeneous on the ura we find a larger hammered finish (tsuchime-ji). The brass inscription depicts horsetail and ferns which looks very lively and three dimensional. In
any case, a bold composition and delicate work. The decorative holes at the top and bottom of the nakago-ana are typical for the 5th generation Shimizu and tell us that this tsuba was made by Jingo Shigenaga, born in 1813 and died in 1854. He was the last generation Shimizu who made kinkō works. As this is the same generation as Fukanobu in Kumamoto and since there where many disciples of Godai Jingo with many extant works exist, this only could mean that Higo Jingo was even more famous and appreciated than Fukanobu during this period.

This large tsuba in maru-gata has two hitsu-ana which reminds of pine cones. The nawamezogan alternating in gold and silver – has the design of a rope layed out in a perfect circle.
It must have been a very laborious and painstaking work to achieve such a fine and detailed result. The tagane at the top and bottom of the nakago-ana are typical for Rakujo, the 3rd generation Kamiyoshi, born 1817 and died 1884. His artistry is famous as he is considered the best representative of the Kamiyoshi school. The surface design he
mastered, which is reminiscent of toad skin and called gamma-hada, is very famous. On this tsuba it can be seen in perfect condition.

This tsuba has the shape of maru-gata with two hitsu-ana in their classical form. The base material is copper while the vertical stripes have traces of black lacquer. The mimi is covered with a fukurin made from shakudo. The tagane on the top and bottom of the nakagoana
are typical for Hikozo.

Solingen Germany, November 16th 2024, NBTHK-EB Meeting

The last NBTHK-EB meeting of the year was held in Solingen, at the Klingenmuseum. Since some of our NBTHK-EB members where still in Japan, a group of almost 20 people attended the meeting, which covered the theme of “Bring and Tell” in relation to nihonto, as well as Ko-Mino and Ko-Goto in relation to kodogu.

The theme provided a good opportunity for some members to present some of their “hidden treasures”, which the group really enjoyed. The following swords were available for in-depth study:

1. Tanto – Hisataka
2. Tachi – Yasumune (utsushi Rai Kuniyuki)
3. Wakizashi – Munehiro – shin-shinto
4. Katana – O-Sa – namokucho
5. Katana – Jitsua
6. Katana – Tadakuni
7. Wakizashi – Tadakuni
8. Katana – mumei Senjuin Yoshihiro

The kogodu presented included masters of the Goto main line such as Goto Sojo, as well as Ko-Mino items that were granted Juyo status by the NBTHK.

This time, as at the September meeting in Manching, a total of eight high-quality Higo-Tsuba were presented, which had just returned from an international exhibition in Kumamoto, Japan.

Tokyo, November 2th/3th 2024, Dai Token Ichi 2024

Of course, one of the biggest highlights of the year is always the Dai Token Ichi – the largest Japanese sword fair in the world. With around 67 shops and dealers from all over Japan, it is the event that collectors and enthusiasts from all over the world must attend. There is simply no larger exhibition of Japanese swords or swordsmanship to admire and purchase. Everything from the smallest tosogu to full-size armor is available.

However, I see a trend, especially in the tosogu area, that some artists are becoming more and more difficult to find than they were a few years ago. Don’t get me wrong, the DTI is so extensive and the amount of offerings is overwhelming. You can basically find anything, but highly valued masters fetch what they are worth. However, if you are looking for a master who is in the middle class or even a lesser known exotic artist, you will have to search really hard or browse some dealers’ exhibitions.

I particularly liked the fact that the media presence was much higher this time than in previous years. On both days, camera teams with reporters streamed through the exhibition and interviewed dealers as well as international and Japanese visitors. In the world of Japanese swords, a lot of advertising still needs to be done so that these beautiful works of art can be admired by future generations. The Nihonto Collection is doing its part to achieve this.

Like last year, the DTI event only ran for two days instead of three. As I was told, the huge line at the entrance on the first day was missing. (In 2023 it went around the block.) This was perhaps because it had rained and people decided to come a little later and not have to wait outside.

Last year I thought it was just as bad that a whole day was missing to explore and admire the artworks or find hidden treasures in the back of a dealers’ display case. The first day was – as usual – very crowded, but this time there was enough space to navigate the two halls on the second day. In the afternoon the atmosphere became even more relaxed, people had a little more fun as the hunt for good treasures was already over. Unfortunately, some visitors (from overseas) were a little too relaxed when showing off their newly purchased swords in the cafeteria, but were immediately reprimanded.

My whole view of the length and duration of the exhibition changed this year as I had to manage a booth this time. From a dealers perspective, it’s much more than a two-day event. Planning the catalog and transporting everything to central Tokyo is a time-consuming undertaking. As expected, preparations for the booth begin the day before. For those who have wondered what it’s like to set up a Japanese sword booth at DTI, I’ve captured some impressions for you.

It is truly an exciting experience to speak to collectors from all over the world. Since we were able to offer swords and tosogu in a variety of price ranges and from many different artists and schools, many people visited the booth and enjoyed the exhibition.

A day at the DTI is exhausting, but it flies by and is a lot of fun.

To everyone who came to visit me, said hello, took some gummy bears or bought a tsuba: thank you! I hope to see you there again next year!

How to set up your booth at the DTI:

Tokyo, October 31th 2024, CINQ

After the study session and the visit of the museum we joined the sword event at the restaurant CINQ, where a kantei with dinner is hosted by Robert Hughes from Keichodo and Hisashi Saito from Ginza Seikodo.

The following swords where up for kantei:

1. Katana – Hizen no kami Yukihiro – Shinto – Tokubetsu Hozon
2. Katana – Osafune Kanemitsu – Nanbokucho – Tokubetsu Juyo
3. Katana – Unju, Soshu – Nanbokucho – Juyo
4. Nagamaki (cut down) – Hojoji Kunimitsu (mumei) – Nanbokucho – Juyo
5. Tachi– Kanesada, Mino (mumei) – late Muromachi

After this eventful day, we needed a restful night’s sleep because tomorrow we had to prepare the stand for the Dai Token Ichi.

Tokyo, October 31th 2024, NBTHK

After the study session we went to the musum hall so visit the new exhibition “Masterpieces of Blade Engravings”, which was just opened on the 26th and can be enjoyed until December 22th.

A complete list of exhibits is available.

There is a nice demonstration on how horimono are made:

Further impressions from the exhibition:

Finally, we went outside on the rooftop terrace, as it offers a beautiful view of the NBTHK Museum garden, which is open to the public free of charge. Watching the birds, koi and turtles is always worth a visit.