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My two tsuba masks

Even if is Japan, tell them you are sending it back. Undisclosed flaws is the worst trick.

OK, this is not meant as a criticism, so if Ian is out there reading this, I did enjoy your talk! Perhaps the word 'bloopers' was way too strong, but here are some things I noticed during the video, having watched it twice. 1. Portuguese with guns landed on Tanegashima Island in 1542 or (1543) depending on who is talking, not in 1534. 2. Tanegashima carries a strong accent in Japanese on GA, (not on 'shi') somewhat like Tane' /GA'shima, but perhaps in the West the accent is different. 3. The matchlock did not stay 'stagnant or stable' during the Edo period as massive improvements and refinements were made in their strength and weight, etc., but all within the matchlock remit. By Western standards, yes, there was no automatic evolution to other locks, this is true. Although flintlocks and wheel-locks did make occasional appearances, they were not encouraged for a number of reasons. 4. The various-sized holes in the serpentine (not all had holes) could have been used for a pin to hold the match, but generally they weren't, and as you say, loading would have been extremely dangerous with a fixed match there. 5. The longer 'wall' guns were fired from castle wall loopholes, but the fat hand-cannons of up to 30 kg were fired by hand, or rested on bales or mounds of earth on the battlefield. 6. The stocks were not made in 2 sections. There was a slit most of the way below the ramrod on many but not all guns, but above the ramrod the wood was solid. It was a kind of flexible figure of 8, the upper section gripping the barrel and the lower section gripping the ramrod. 7. From what I understand re the barrels, they were first a single sheet wrapped around a steel rod, then the kazura makibari spiral helix was performed over that. (see Sawada's book for illustration.) A double helix was better, as you say, and three twists were considered the best. (More than two were generally alluded to by the smiths as So-makibari or 'complete' helix work. 8. You mention not being able to see any writing on the gun, but there is an imprint seal of the lockmaker on the brass lockplate. The barrels were signed underneath, but you would need to remove the barrel to see if it is signed there with a place and name, and a date if you are extra lucky. 9. You mentioned they were made until the end of the 1800s, but this is true only for very rare commemorative examples. They were completely obsolete by 1870, having been superseded by foreign imports (and native versions) with improved loading and firing mechanisms and rifling during a process from about 1840 to 1860, i.e. mid-century. 10. Sugawa's book has been a stop-gap lifesaver for people in the West, but for multiple reasons it needs really serious editing.

No mask on this one, but I am told that these are items for Noh plays.

Choji oil is really just mineral oil with a bit of clove scent added to it. Tsubaki oil is camilla oil. A good quality mineral oil such as what you can buy at just about any pharmacy will work too. There is nothing that you can do yourself about the rust. That is something that this group strongly advises is done by a fully qualified sword polisher. A sword care kit will have uchiko powder in it. This really wont do anything to remove active rust, and can damage the sword further. It is strongly recommended that its use be avoided.

Noh mask ans music instruments..... in line withe Dale's tanto tsuba

Hey guys, A recent acquisition to collection and I felt it deserved to be shared. It's a Tokubetsu Kaga koshirae, original to the sword, resided in the private collection of an armor collector in Japan for over 50 years. Sword it was made for is a Naokatsu, made in Echigo. I would appreciate it if you could share additional information, as I have only just started studying it yesterday. Thanks

I will say, that most if not all people here are pretty opposed to any attempts at restoration of any traditionally made Japanese sword. Even those that are rusted. There might be a very rare exception on a blade that is actually worthless (multiple fatal flaws, retempered, broken/damaged beyond repair, etc.) that may not draw the ire of the membership here, but there are too many examples of some guy trying to polish up the sword his grandpa brought back from WW2 only to ruin a 200+ year old of beautiful history in their attempts. It's happened a few times already in the very short time I've been here and on the FB nihonto groups I'm in. If you look at a polisher's page like David Hofhine, you'll see VERY rusty blades brought back to an incredible blade. So many swords are not "too far gone" like many amateurs may believe. Remember that becoming a properly trained polisher (Togishi) is a +/- 7 year commitment under the apprenticeship of a master. It's as fine of an art in many respects as the actual forging of nihonto.

Compared to the huge knowledge base of Japanese swords, little is known about gunsmiths, and smith name lists are very rare. As to 'conversions', Roman, most appraisers and dealers are not aware of the very slight difference. There were two types of these, and at the new Nagoya 'Touken World' you can see a rack of each. The first are originally matchlocks, and there is a long shallow cutout in the right rim of the stock for the pan and lid. Conversions usually have the remnants of this long cutout, which is no longer necessary. Has yours had a later plug of wood fitted in there? Then there is the type that is to all intents using a tradionally-made matchlock stock and barrel, by the same smiths, except made solely for a percussion lock system. The cutout there is only large enough to take the nipple surround. Your pictures are rather dark, but from what I can see the latter looks the more likely candidate. It's a small difference, I agree. In my experience there are matchlock purists, who attempt to reduce a percussion gun's working parts back into a matchlock, so to such people this difference would be meaningful. History buffs might also enjoy seeing the evidence of overlap, two phases of Japanese gun history. In general though, it's horses for courses.

I also use these acrylic display stands (can be found in mineral shops for items like agate disks etc.).

I use these plastic stands I get inexpensively from a site called ‘WISH’. Items are direct from China in most cases. They come in different sizes, but I find the 5cm tall ones work best for almost all tsuba. No problem with scratching on iron tsuba, but if there is a concern I suppose the edges could be sanded down a bit or a small piece of cloth/silk could be used to cushion tsuba. They only cost about 50 cents a piece depending on quantity purchased. Other nice features are: they are stackable (don’t take up much room), because they are clear they don’t take away from or block viewing the tsuba, and if they get broken or lost it’s not a huge financial loss.

Osuriage mumei katana, 66.5cm nagasa with copper habaki and saya only. Gunome hamon in nie-deki with a thick habuchi. Deep sori, extended kissaki and raised shinogi. Futatsuji-hi on one side and the reverse with bo-hi and soe-hi. $700 + shipping & PP

Well, one of my best attached. I almost was foolish enough to sell this one during a dry financial period.

Dear @Barrie B, The masks on your sword are Okame (also called Otafuku/Ofuku/Uzume) and Hyottoko (“fire man”). They are usually considered a pair (and have been for hundreds of years). Some traditions call them husband and wife. Together they symbolize good luck and jolliness. Okame is also known as the Moon Goddess who played a very important role in getting the Sun Goddess (Amaterasu) to come out of her cave and give light to the World (part of the legends of the founding of Japan). She did a bawdy dance dropping her clothes and making all the other gods laugh, so Amaterasu (the Sun Goddess) came out of her cave to see what was happening. Believe it or not, Okame was originally considered the epitome of Japanese beauty (evidentially Dale @Spartancrest doesn’t care for the ancient beauty standards in Japan… personally I'm with Dale...) Today they are very common masks that are used in lots of festivals in Japan. As I’ve said before, while this is a wakazashi, it is not necessarily a “merchant sword” (working hard to get rid of that old and misinformed stereotype…) Okame derived from Noh plays which were written by and performed for the aristocracy (Samurai, NOT merchants). While she has evolved into a more common figure, Okame’s origins were in the Bushi class. Grev @kissakai, yours is fascinating because it shows a man stuck between the two, diametrically opposed versions of a woman. Your menuki are Okame and Hannya. Okame is considered the perfect Wife (ever cheerful and supportive) whereas Hannya (on the opposite side) is considered the ultimate jealous woman. In one of the Okame legends, she was supposedly based on a real Wife who gave her own life in support of her husband. Hannya on the other hand became so jealous that she was transformed into a horned devil with a serpent’s body that became so hot that she burned her lover to death in jealousy. Your sword must have been designed by Freud, because your kashira is Hyottoko (the Husband) caught between these two extremes!

Type (Tachi, Katana, Wakizashi, Tanto, Naginata, Other) : Katana Ubu, Suriage or O-Suriage : O-Suriage (I think) Mei : (Mumei, Signature) : Mumei Papered or not and by whom? : NBTHK Hozon Paper Era/Age : Nanbokucho to early muromachi Jidai Shirasaya, Koshirae or Bare Blade? : Shirasaya Nagasa/Blade Length : 64,5CM Sori : Uncertain see pictures Hamon Type : Jihada : Other Hataraki Visible : Flaws : Some markings on the hamon and some scratches, see images for foraging imperfections Sword Location : The Netherlands Will ship to : Everywhere Payment Methods Accepted : Bank Transfer is preferred Price and Currency : SOLD Other Info and Full Description : This Chiyozuru Katana was acquired by me in the Netherlands as a bare blade, with no mounting. I was able to mount it in a shirasaya. It has a Habaki as well. The blade has a beautiful Jigane and dates to the early Muromachi period. There are a few foraging imperfections on the blade, I have done my best to highlight these imperfections in the images. The blade is made in the Yamashiro tradition by the Chiyozuru school. Beautiful sori and hamon activity aswell.

Its rare to come across swords for sale that were entries into the NBTHK sword making competition, this sword was entered in 2007. In hand, its a large sword, i would describe it as magnificent. The sword was bought direct from the smith by its previous owner, a well known collector here. Akamatsu Taro Kanetsugu is the current head of the Kimura Nippon Bijutsu Token of Yatsuhiro, Kyushu. His real name is Kimura Kanesada, born 1951. He is the oldest son of Kimura Kaneshige. He is recognised as a Kumamoto "important traditional craftsman". The tachi is large, it is signed and dated 2007. He made it at the age of 56. It was entered into the 2007 NBTHK Shinsakuto competition and received Nyusen-Sho. In hand, the quality stands out. Fine Ko-itame hada and a consistent hamon in Choji. See his other NBTHK results below. I'm confident any future owner will cherish this wonderful Tachi. Price is £5500 or best offer. That's a fair price for such a sword. Payment via bank transfer or paypal (buyer to cover fees). Folks are welcome to come and see the sword. Shipping likely to be with UPS, i will need to get a price for anyone interested. I am bad at photography, until i take some pictures i will use some by the previous owner. Type... Tachi Ubu.... Original condition competition blade, Mei... Higo Kuni Yatsushiro Ju Kanetsugu Saku Papered...Copy of Nyusen-sho, copy of Torokusho, and original statement/oshigata by Kanetsugu. Age..."Heisei ju ku nen ni gatsu kichi jitsu" (lucky day 2nd month 2007) Shrasaya.. With horn mekugi/mekugi ana, Comes with a bag made by the smiths wife. Total length 108cm Nagasa/blade length.. 78cm, Total length of blade and nakago is 101cm Sori.. 2.5cm Hamon.. choji Jihada...Ko-itame with Jinie Flaws...No, its a competition sword. Habaki..quality 2 piece with gold foil. Location..UK Plenty about the Akamatsu Taro smiths online. They make their own Tamahagane from Kumamoto river sand, their hada has a darkish appearance. Akamatsu Taro (japaneseswordhigotsuru.com) This is a robust tachi with finely carved Bo-hi. This sword would make one hell of an addition to any collection. Lots of information comes with this blade which is a nice bonus, ask for more details if your interested.

Thank you guys for accepting me as a new member. I’ve read many bits and pieces from you guys board via general searches. Seems like a great group with a plethora of knowledge.

Just for us non-armour guys. The first post started off wondering if it's indeed all repro, then the thread continued as though that was answered. I didn't see anyone confirming that everything there is clearly post 1900. I assume so, but have we clearly identified that all parts are modern? Also, I think that there are quite a few who know the in's and out's of restoration, but just like swords, I expect everyone is hesitant to give advice in case it encourages novices to work on genuine armour, which risks damaging it much more. I suppose giving tutorials on how to do it would lead to many thinking they can haul out their old pieces and "give it a go" I assume it's like telling someone how to play with patination on their old tsuba.So I can understand the lack of "how to" answers.

Horrible cheap fake. It is so far away from the real thing. Sorry.

The holes could be filled easily with leather repair filler, they do many various colours in many shades. You would hardly see them, used it a few times. The question is whether you should?, Don't see it as much of an issue either way.

Hi mate, message coming your way about this sword. Mark Australia

Me like http://world.seiyudo...m/product/ka-121222/

Oops, Alex, missed this. For some reason Tanegashima updates do not appear among the new posts every day. I'll go back and make a list of bloopers when I get a minute. Overall though, it is nice to see something like this.

Those are the ones I have been using too. I was just getting antsy about the sharp edges and points having an impact on the copper or shakudo tsuba (iron is not an issue). What I am doing now is to use a nail file to soften the edges and points so that they don't catch on the nanako on the rim, or press into the copper. I am probably being overly cautious, but I don't want to regret damaging things later.

Usually NBTHK will only give what they are comfortable with. If they only thought Mishina, they would have stated only that. In this case, they are probably stating “one of the Kanemichi smiths” but no hint as to which one. If they wanted to be more specific, they would have stated the generation or given a time period. With mumei blades, this is usually pretty good. What can be a little more frustrating is when there is a mei but they don’t help with the date or generation.

The clear stands are optimal for sure. A while back you could get a transparent white filament for printing, but it wasn't transparent at all once printed. I'd love to have a perspex plate (with a small peg) so that the whole face of the Tsuba is unobstructed, and, if a mirror behind, the whole face of the reverse side would be unobstructed too. I have looked for something proprietary that would meet this want, but it seems there is nothing readily available, and id have to construct them myself, one by one.

Victor: Here is the term for this type of flaw. Note that it is a fatal flaw, meaning the blade cannot be relied upon to function properly. John C.

What happens sometimes with nihonto is that the ha/cutting edge gets chipped. When the blade is then polished the ha gets raised up to the level of the deepest chip [in order to remove that chip]. In the areas where the hamon is shallow there is the distinct possibility that the hamon becomes interrupted, a fatal flaw. There is some indication that this may be the case here. Regards

Im not really concerned about resale value with this project. A beautiful Koshirae is something I really enjoy looking at. Id probably be able to find an antique Koshirae at some point with enough time and searching, but If im going to admire a Koshirae on display in my home I don't want it to be for a sword I don't have. To me it just feels too incomplete.

I think so. Run away.

Thanks to @John C, who sent me a fully translated page from Ohmura's site, we have confirmation that the stamped numbers on RJT blades were in fact put there by the armory! We still don't have documentation that explains the stamped numbers on non-RJT blades, but this is great news, for me at least! From the page: "The sword blade stems delivered to this armory are: (1) Those with only a "star" mark that has passed the Army Material Inspection (2) A "star" and a number stamp on the stem butt (3) A "star" and an inspection mark on the stem building (4) There are various types such as those with a "star" and a small "sekiin". Items made before the designation of a swordsmith or items sold directly without delivery to the armory due to special circumstances even during the period of swordsmithing will not be marked with these inspection seals, number stamps, etc. A sword that does not have the date of manufacture cut on the back of the stem is not a sword that has been once delivered to the armory, even if it is a standard sword of the swordsmith." Noteworthy on another topic is the statement that "Items made before the designation of a swordsmith or items sold directly without delivery to the armory due to special circumstances even during the period of swordsmithing will not be marked with these inspection seals, number stamps, etc." confirming what we've been saying about RJT qualified smiths selling blades directly to the market, bypassing the arsenal, not having stamps. Edit: I just realized they stated that blades sold outside the armory will NOT have stamped numbers: "Items made before the designation of a swordsmith or items sold directly without delivery to the armory due to special circumstances even during the period of swordsmithing will not be marked with these inspection seals, number stamps," Translated page attached: About the specifications of the sword.docx

Jacques We have had this conversation in the past my understanding has always been that being awarded a hozon paper means it is worthy of preservation. It therefore has to be in reasonable condition and without fatal flaws. Exceptions may be made if something has a valuable history. But a hozon papers says more about a blade than just the mei is authentic. Has something changed recently?

Thank you Brian I believe you summarised the situation very well. I have enjoyed listening to those who have focused on the top end either as students or collectors their enthusiasm and knowledge inspires people like me to work harder to understand the subject. I have also enjoyed the enthusiasm and commitment from those who for whatever reason could never reach the hallowed turf of High-Art swords and they outnumber those who can by a very very long way. Whether art or not some of these works have survived hundreds of years and have passed through many hands that have valued them for whatever reason. If someone is happy to continue that then they deserve respect not condemnation.

We shouldn't celebrate mediocrity, perceived or real, but we shouldn't disparage those buying the best they can find within their means.

Thanks gents. Will add some information i forgot and some photos, did my best and as usual just took them in sunlight. Forgot to mention this sword was made with a Bizen influence. Its large and heavy, further measurements as follows. Not bang on accurate but close enough as used a tape measure. One thing i like about modern Shinsakuto. Your owning the sword the way it was made, without it having seen many polishes etc that effect appearance. Width at Habaki 35mm Width at Yokote 21.5mm Kasane (thickness of blade) at habaki, 8mm Plus donation to NMB upkeep if sold.

Here is an image of the front of the piece...

Piers, thank you very much for your extensive answer. I assumed they used patches, now I know for sure. This technique may have been discovered independently in many places. Perhaps it was even brought by the Portuguese, who probably knew it. I was fascinated by this phrase: 'manuscript of around 1600 showing inventive use of doubling or cutting or linking lead ball' Wars seem to inspire human invention tremendously. Its fruit is a flood of inventions, although most of them impractical or useless. This has always interested me. Are there any sources of information, usable by a “gaijin” (paper or electronic), on these early gunnery oddities?

Ah yes this also has an Okina (old man) mask theme. I believe it is one of the oldest of the Noh repertoire and represents an older male with long white beard expressing wisdom and bringing longevity to families. The rounded eyebrows and the separated lower jaw makes it different from the other masks, the chin is attached to the main mask by a cord (which you can see nicely in the attached picture). Okina masks have an abstract pattern of the deeply carved wrinkles around the forehead and cheeks and the formation of the eyes is in open slits, rather than sculpted eyeballs with a hole for the pupil. I'm also enjoying and learning a lot from this thread, thanks for everyone who has shared something! Tom

That's a lovely tsuba Barry! I have a Okina mask themed tsuba and a very nice Hannya mask tsuba. Regards, Tom

Here is a tsuba with a mask theme.

These are my masks - Sorry don't know anything about them apart from what they are These are rushed images and the colour is way of for the first image

I have had a look around and whereas there are plenty of tsuba with noh masks, other fittings are in short supply - makes it difficult to gauge age when there is so little to judge by. https://www.worthpoint.com/worthopedia/8005-jp-samurai-sword-noh-mask-takasago-menuki https://www.catawiki.com/l/43615829-Japanese-sign-higonokami-fujiwarateruhiro-saku-kogatana-hand-fan-hanya-mask-motif-iron-copper-Japan-edo-period-1600-1868 https://www.ebay.ie/itm/Kozuka-Japan-Samurai-Hannya-mask-inlay-shakudo-sword-fitting-katana-tsuba-w-box-/183876758513 none of these are very close to your piece but you might get some clues?

Hi Dale, LOL.. My interest is because I own this handsome 'Merchant' Koshirae (for lack of a better description) that has similar themed Menuki.. Bit of an unusual theme for a Samurai, I would have thought..? I think it was made very late Edo, when merchants and artists had money? Perhaps I should research the Kozuka artist to put an approximate date to the Kozuka, to support this theory.. I assume it was made for, and owned by a Kabuki artist..? Any other theories? Barrie.

Nobuie. Steel. 8.2 cm. Yattsu Mokko-gata. The thickness of the tsuba swells considerably from the nakago-ana (4 mm) to the mimi (6 mm), creating an "expansive" effect to the motif, which I believe to be a stylized lotus blossom. Tsuchime-finished surface. The signature is of the type that is referred to as "Futoji-mei," attributed by most scholars to Nidai Nobuie. I do not know if the plugs are solid gold or another material with a gold sheeting applied. Momoyama Period.

Kinda fits into this thread...but wanted to ask Ford if he saw this post on FB. Apparently sold in Russia for over $15K. I think it's a beauty. Thanks to Roy L for the link.

About Yamakichibei, here is mine

You guys have some beautiful stuff. It is also great to be able to see the contrast between the "in your face mind-blowing" kinko stuff and the subdued great iron more "plain" works. Keep them coming. Brian