Category: Activity

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.

Tokyo, October 31th 2024, NBTHK / NBTHK-AB / NBTHK-EB

On October 31st, the NBTHK American Branch, organized a study session at the NBTHK museum in Tokyo. Members of the European Branch and other branches where also invited. With the Dai Token Ichi just around the corner, a total of 23 lucky members joined an informative afternoon at the museum.

Dr. Kugia hosted the event together with Mr. Arakawa and presented us with the following 5 swords:

1. Katana – Morimitsu – Oei Bizen- Muromachi (as Kantei)
2. Tachi- Muneyoshi – Ko-Ichimonji – Early Kamakura – Juyo Bijutsuhin
3. Wakizashi – Hiromitsu – Soshu – Nanbokucho – Special Art Object
4. Katana – Hizen no Kuni Ju Mutsu no Kami Tadayoshi -Shinto – Juyo Token (1974)
5. Tanto – Kiyomaro – Shinshinto – Juyo Token (1967)

The first one, the Morimitsu, was used for kantei and a few members where able to identify it correctly and hit “atari”.

The second one is registered as “important art object” Juyo Bijutsuhin. It’s always impressive to see and hold swords like these in your own hands to study them carfully. Truly magnificent swords and I can’t thank the NBTHK enough for letting us handling them.

A few more impressions can be found at the NBTHK-AB branch.

Neuwied, October 12th 2024, Nihonto Club Deutschland

On Saturday, October 12^th , 2024, the “Nihonto Club Deutschland” held its last meeting of the year in Neuwied.

Unfortunately, many members were unable to attend the meeting, so only 7 members and one guest were present. However, these members presented an amazing variety of nihonto of exceptional quality from different schools and masters across different eras.

Because only a few members were present, there was more than enough time to look at the blades and study them carefully.

The following nihonto were exhibited:

Kantei #1

1. Katana Gassan Sadakazu
2. Katana Kunisada (Father of Inoue Shinkai)
3. Wakizashi Sendai Kunikane (2^nd Generation)
4. Wakizashi “Omi No Kami Fujiwara Tsuguhiro” (1. Generation), pupil of Yasutsugu (3. Generation)
5. Wakizashi “Omi No Kami Fujiwara Tsuguhiro” (2. Generation), in a completely different appearance in the work and signature as #4
6. Tanto mumei, attributed so Sanjo Munechika (Shin Shinto) by the NBHTK

Kantei #2

1. Katana mumei, Yamato Hosho from early Kamakura
2. Katana mumei, Ko-Uda
3. Wakizashi Sukenao
4. Wakizashi Kuniyasu (3^rd Son of Kuniske)

Even if the Nihonto Club Germany has a strong focus on the blades itself, a few tsuba from the collection of the famous collector Kokobu Kenichi where shown.

After an exciting and wonderful day, the meeting ended with a good dinner together.

If you are interested in visiting the Nihonto Club Germany, please feel free to contact me.

Manching, September 28th 2024, NBTHK-EB Meeting

On Saturday, September 28, 2024, the NBTHK European Branch held its November meeting in the small German town of Manching, which is not far from Munich and Nuremberg.
Of course, in addition to the German members, members from Austria, Luxembourg and Switzerland also took advantage of this opportunity and attended the meeting. Since the theme of the meeting was “Kiyomaro”, the members were in for a treat.
In addition to a large katana from Kiyomaro, there were two tanto from Masao and two tanto from Kiyondo.
The katana from Kiyomaro has had quite a journey, as it was found in Austria a few years ago in a devastating condition:

After the tsuka was removed, the signature was quickly verified by knowledgeable members of the NBTHK-EB. Since it appeared to be genuine and not gimei, the sword was sent to Japan for further examination. Now the sword is back in Austria in a fresh polish and with a Tokubetsu Hozon certificate from the NBTHK.

The newly crafted shirasaya bears the following sayagaki by Tanobe Michihiro, the former chief researcher and managing director of the NBTHK:

Yamaura Tamaki Masayuki

Ubu machi-okuri goji-mei o arishi Tenpō jūnen no seisaku to oseraru ura ni wa ninen ato no Tenpō jūinen hachigatsu nijūrokunichi
Yamada Gosaburō ga setsudan o okonaitaru tokoro karigane dotan-barai de arishi mune no Masayuki no kiritsuke-mei kore ari. Naginata-naoshi-fū katsutaru tsukurikomi shikamo itame-nagareru hada—ai ni chōji, gunome, ko-notare no majiru dōsei to henka ni tomu midare o yaki nie-nioi shikō de kinsuji, sunagashi o shikiri ni orinashi nioiguchi sae kono-ki no-dōkō no konryō o hakki-suru yūhin nari, Hachō ni-shaku
san-sun yahi-nu jaku

Sayagaki by Tanobe Michihiro, former chief researcher and managing director of the NBTHK

Yamaura Tamaki Masayuki
This blade is ubu and machi-okuri and bears a signature consisting of five characters. The work can be dated to around the tenth year of Tenpō (1839). On the back of the tang, engraved by Masayuki himself, is the result of a cutting test carried out by Yamada Gosaburō on the 26th day of the eighth month of Tenpō twelve (1841), in which the blade severed a body at the level of the collarbone and penetrated the earth wall below. The blade is shaped in the style of a naginata converted into a katana. It has a forged structure in itame-nagare and is hardened in a nie-heavy, dynamic midare with a wide and clear nioiguchi, which is mixed with chōji, gunome and ko-notare and shows a wealth of activities. There are also many kinsuji and sunagashi interwoven into the forging structure and so we have a masterpiece that reflects the characteristic style of this blacksmith of that time.
Blade length ~72.1 cm

Sayagaki by Tanobe Michihiro, former chief researcher and managing director of the NBTHK

It was a great opportunity to see and hold this impressive work by Kiyomaro and admire its mighty suguta. The NBTHK-EB went to great lengths to surround the Kiyomaro with four tanto made by his pupils, two by Masao and two by Kiyondo A great exhibition!

In addition to the blades on display, the theme of the kodogu was “dragons,” so you could see beautiful koshirae, such as a rare daisho dragon koshiare or one from the Wakashiba school or one with Ezu dragon menuki, all in perfect condition:

As for kodogu, members gathered top pieces from their collections. For example, two tsuba by Sadamoto Teikan were presented. An iron tanto tsuba with a dragon climbing Mount Fuji, with Sadamoto’s full signature and the location where it was made. Next to it, a shakudo tsuba of exceptional quality was displayed, a juyo piece. Also on display were a few other pieces, in my opinion some of which will also receive juyo certificates in the future.

Since some of the NBTHK-EB members have the opportunity to exhibit some of their higo tsuba in Kumamoto, they kindly showed them at the meeting. Thus, high-quality works by Hirata Hikozo, Rakuju Kamiyoshi and Jingo Yatsushiro could be admired.

But the icing on the cake and the crowning glory of the whole was the display of four tsuba by Korin, all signed, accompanied by a tsuba by Korin’s son Eirin, also signed.
An exhibition that would be difficult to put together even in Japan.