The aim of this publication is to make the genealogies of the Japanese tsuba and tôsô-kinkô schools easily accessible to the reader, namely in that they are complete and have been revised for the first time, in a single book. The book contains 120 genealogies of all the major schools, divided up into two sections: the tankô who worked in iron, and the tôsô-kinkô who processed soft metal. For a better use of the genealogies, an extensive index is added at the end of the book.

This book deals systematically, for the first time in English, with all the Japanese tôsô-kinkô schools and sorted by their production sites such as Kyôto, Edo, Mito, Higo and the like. Comprehensive cross references are given for the origins of the individual schools and the master-student relationship(s) of the individual artists, supported by genealogies for the larger schools. In addition, a detailed introduction of the historical context of the Japanese tôsô-kinkô, the manufacturers of sword fittings, is given at the beginning. Also added is an extensive index containing all the names, first names and pseudonyms of the artists introduced in this publication.

With this publication I try to systematically and comprehensively process the subject of ,,Japanese sword mountings". It was not my goal to depict as many extant interpretations of sword mountings as possible but to deal with their different styles. With this publication the reader will be informed in which way the Japanese swords were mounted over time, the origins of the various styles, what changes they underwent and it will also serve as a reference material to classify extant specimen. In this sense the descriptions were embedded in an explanation of their historical context rather then listing them simply by their interpretation or in alphabetical order. As the main focus lies on ,,koshirae", explanations on the sword fittings - the tosogu - were omitted because their descriptions can be easily found elsewhere. Also, the military mountings - the gunto-koshirae - were left out because there are excellent publications available which deal with them in great detail.

This completely new encyclopedic reference for the Japanese sword contains about 2,500 terms, many of them illustrated by photos and drawings. The Encyclopedia of Japanese Swords is an A-Z general encyclopedia covering each and every part of the sword: the blade, the mountings, the fittings, and all their different interpretations. Further, this encyclopedia also explains the literal or etymological meaning of each Japanese term and provides an even deeper insight into the subject.

My aim with this publication is to make the major genealogies of Japanese swordsmiths and their schools from the kotô to the shintô and shinshintô periods easily accessible to the Western reader, namely in that they are complete and have been revised for the first time, in a single book. The publication begins with a brief introduction to the history of Japanese sword literature. Ziel dieser Publikation ist es, dem westlichen Leser die Stammbäume japanischer Schmiede und deren Schulen von der kotô- über die shintô- bis zur shinshintô-Periode erstmals gesammelt und revidiert zugänglich zu machen. Diese Publikation beinhaltet zudem eine kurze Einführung in die Geschichte der japanischen Schwertliteratur.

This is now the second volume of my book ,,Legends and Stories around the Japanese Sword". Once more I try to bring the reader closer to the Japanese sword and dig deeper into the matter by the means of legends, stories and anecdotes about famous swords and their swordsmiths. Like in the first volume, I introduce several famous meito or meibutsu, for example the Kogarasu-maru, Yoshimoto-Samonji, Takemata-Kanemitsu, Kuronbogiri-Kagehide, Tsurumaru-Kuninaga and many more. And the stories deal among other things with the greatest swordsmiths in Japanese history like Masamune, Muramasa, Samonji, Kiyomaro and Kotetsu, to name only a few.

Reprint and translation of Wada Tsunashiro's 1913 publication Soken Kinko Zufu with all 698 illustrations. Wada features roughly 400 artists in what was back then one of the most comprehensive overview of Japanese sword fittings.

The purpose of this publication is to provide a basic guide and reference for identifying Japanese seal script. The most effective way of identifying a seal script is by its radical, a graphical component under which the character is traditionally listed in a dictionary. The radicals used here are the Japanese version of the 214 Chinese Kangxi radicals.The first thing to do is to identify the radical under which the character is most likely to have been indexed.To begin with, this dictionary offers a RADICAL SECTION. If you think you found a match with the supposed radical for the seal character in question, then go to the page which lists the characters grouped under that radical. This dictionary contains approximately 4,000 characters. As mentioned, the purpose of this publication is to provide a basic guide and reference. It is not meant as a comprehensive seal script dictionary offering different interpretations of each seal character.

An unavoidable difficulty with books that deal with Japanese swords in general is that the workmanship of a smith has to be reduced to its most important characteristics which can be seen on the majority of his works. It is here that this work comes into play, with the motive to provide more concretely described reference examples. Unique is that - depending on the blade - former participant's kantei bids are also addressed. This means that one's own approach and attempt at attributing a blade may also be comprehended. With the 169 introduced shinto and shinshinto blades from altogether 13 provinces, this volume constitutes an extensive reference work. The order starts for shinto with Kyoto, Edo and Settsu, and for shinshinto with Edo.