My name is John Tirado and I have been studying, collecting, and restoring Japanese swords for over Twenty four years now. I must say that I have been very fortunate in having the opportunity to associate and converse with many of the top collectors, dealers and craftsmen both here and abroad and there knowledge and generosity have allowed me to flourish doing those things that I find most enjoyable. This site is not an attempt to generate business for restoration services. On the contrary, this site is an opportunity to put to paper many of the experiences, thoughts and discoveries that I have made during the years. It is often said that in order to explain something you must really understand what that something is. This organization of information helps clarify these thoughts as well as expose errors that are obscure or vague.
This is also not a "how to" page. There are many roads that lead to a final destination. You will see that road that I use and then, only a general progression. I am in no way attempting to tell any one how something is done or how it should be done. It is meant to involve the reader in the project as if he is observing not so that he can say "I was taught" but rather I saw it being done. I really will not entertain technical questions such as "what is the secret for......."so, please don't ask!
I was first introduced to the Sword when my brother-in-law was given a very pleasant Sukesada Katana as a wedding gift. He had asked me to investigate a collector that was local to me about the restoration process and after frequent visits, I was hooked. I buried myself in reading and when I could, I would acquire a blade or two. I no longer have any of those early pieces and am I'm rather happy I don't. They were as one prominent Japanese dealers explains it "Tuition". I've paid plenty of that and and if you plan on playing this game, there is no way to escape it.
Early on I had taken a fancy to lacquer and since I had experience in "painting" I concentrated on this aspect of the sword. Early I realized that the process of "nuri " was nothing like that in the west and I became intense on learning the processes by which Urushi was applied. I began to incorporate those technical secrets unraveled by trial and error as well as studying extant pieces of lacquer.
It is interesting to note that "nuri" is a dying art and that even in Japan, most restorative, and new koshirae is performed using synthetic materials, (Kashu/cashew). I'm the first to admit that this material is by far the easiest to work by individuals not trained in the subtlety of ursushi and it retains much of the properties of traditional methods allowing the duplication of almost any lacquer style. The safety and durability are the most outstanding difference between Urushi and Kashew. Urushi, being a natural products of Rhus vernicifera a member of the sumac family,and can be highly toxic to those that exhibit a histamine reaction to sumacs and ivies. Urushi when properly dried is the next thing to superman and is extremely durable and solvent resistant.
Before long I had acquired a small clientele of individuals that wanted lacquer repair completed on pieces from their collection. Many times I would be asked if I was capable of constructing shirasaya or koshirae saya and before long I found myself wrapped in studying the methods of saya.
Shirasaya and saya are truly my real passion now as lacquer is very time consuming and somewhat subjective. What one eye sees is not always understood by another and therefore the satisfaction of completing a piece is not always fulfilling for me. I work solely with honoki wood imported from Japan with Japanese tools in the traditional manner. I dabble in metal work and have made habaki as well as other kodogu that I will feature here on occasion.
Please enjoy this page and check back frequently for updates
John
I welcome your comments and suggestions for this page as well as projects that you might like to see done
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