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This katana is a Gendaito, 27 1/4" long with nice big saka-choji hamon and o-kissaki, as described in its purchase link.

It appears that there are some flaws at the shinogi-ji and the kissaki tip requiring a new polish to preserve the progressive degradation of the sword. This is however what appears from the pictures.

INTRODUCTION TO THE CONCEPTS
The main issue of the concept is to render a sword in a ceremonial attire. For this reason I have established a link to the concept of black and gold as part of a sense of preciousness that is also imparted by other forms of Japanese expression such as lacquerware, as can be seen in the examples below.
Preciousness is connected with admiration and reverence. Since this sword is to represent the Araki family, it should have a formal attire. I do often avoid formal swords, but my own Katsujin-ken although not bound by any family tradition can be seen as an evolution into contemporary formality, rendering the blade as a precious jewel-like sword with the old connection of black lacquer and silver.

This fine examples set the stage for a historical traditionof the use of different shades of gold and lacquer-ware in Japanese culture. While the two boxes on top show an abundant use of gold, the lower ones are much simpler. On the lower left is an example of the Takeda mon plainly painted on a lacquer box top while the tray shows another shade of gold in a very delicate design.

In the case of the below shown box, the chrysantemum is represented in a overwhelming way which proves that the sense of balance can also be presented in an overwhelming way.

Despite the color of the gold, that must be of a different shade, with a kamon in the center which is quite similar to the araki kamon, it is possible to view a historical link established between the chrysanthemum and another family crest.
 

The Araki Kamon as supplied by the customer himself is a mon belonging to the flower category and split in the traditional three petals way.

I have designed three tsuba which are variations of the araki mon with or without gold applications of the mon itself.

The first case shows a sukashi tsuba either in black or with a gold rim  showing the kamon as the theme of the mon.

This is a kiku tsuba of 40 petals embbeded with gold wire and the kamon. All tsuba are 7 cm ~ 7.5 cm.  This design I find very beautiful and entirely within the great capacities of Mr. John Tirado who made this Shinsaku Tsuba.
John is a highly skilled professional who is more than capable of doing any of the tsubas shown here. We provide two designs and let the artist decided which one he feels most inclined to do because that is what will make his work even better.
To complement the mountings, this set of cherry blossom menuki becomes an indirect part of the mountings in a harmonious way.

Below, the saya lacquered in black with the Araki Kamon placed in traditional formal style for a ceremonial type of sword. Note that the kurikata has been rendered in gold, meaning a gold bath and frosted finish in a silver kurikata.

Therefore, based on the Araki kamon on the saya, the entire remaining set of fittings had to be down-played to a more balanced way, so that only the menuki and the gold in the tsuba shows the full connection.
Since this is to be a family heirloom I used a traditional black and gold " ceremonial style " for the saya to give it more presence. Sometimes one has to know when to use a dinner jacket and when can one wear other clothing. This is my approach based more on a traditional design since it is a nihon-tô.
Every so often, the designer should know when to stop
RENDITIONS

This first solution with the tsuba is my favourite one as it is more subtle and discreet. Subtlety is important in a design. I try to avoid the obvious whenever possible.

This second series is based on the Araki Mon adapted into a tsuba. To me it is too obvious, so I prefer the first solution also for it is more elegant. One has also think of a tsuba feasibility when designing. Both are feasible but the first one above has my preference.

THIRD OPTION

Due to a later consultation of the customer, there were some family details that were absent before, pertaining to the Araki family which lead me to downplay the saya, and therefore come up with a simpler solution of a gold plated copper ring in the saya below the kurikata and a gold plated copper koiguchi. Both should have a frosted look so as not to be too shiny.

 

Concept by Antonio Cejunior - BLADESIGN
Renditions by Eric Litton
Customer - Eric Sunquist
2004 ~ 2005