Leaderboard

I recently found a "stash" of difficult to find tsuba linked to the Ashmolean Museum - through their ASHMOLEAN IMAGE LIBRARY - This added something in the order of 160 more tsuba to the 1,800 odd other tsuba that can be found in the museum searches https://www.ashmolean.org/collections-online#/search/simple-search/tsuba/%7B%7D/15/96/objectNumberSortedSorting1.keyword/asc/catalogue I was taken by a particularly designed piece based on an expanded "Three Karigane" sukashi pattern - which had five birds rather than the more common three - however the description stated the design was "Ginkgo Leaves" So I thought I would let the museum know they had the wrong description. I realise that the link now is corrected so the evidence no longer exists that the museum had the wrong description - how many other corrections have "gone unnoticed?" Jan 1, 2025 As a collector of Japanese tsuba I can say with certainty that the description of https://images.ashmo...searchQuery=EAX.5754 is not ginkgo leaves and should be "five wild geese" or "five Karigane". Perhaps this can be rectified? Regards Dale Today I got a reply : Dear Dale (if I may), I just wanted to mention that our eastern art colleagues have carried out the required update following your kind email! Best wishes Rosanna Rosanna van den Bogaerde Picture Library Ashmolean Museum of Art and Archaeology University of Oxford Beaumont Street Oxford OX1 2PH

If a kinzogan mei is old it should be slightly below the surface of the nakago. When the kinzogan is applied it is even with the nakago surface but with age the iron of the nakago corrodes slightly and grows in volume. The gold doesn't corrode and doesn't gain volume. After a couple hundred years or so you can feel the difference. If there is no difference in height, maybe there is no age either. Grey

It is just sad.

This whole thread has nothing to do with TSUBA. It is Kindergarten, and I am out, too.

Jean doesn't have to state references to the above. It is basic common knowledge to anyone who studies Japanese swords and their craft. Something you take for granted that everyone knows. No need to go look for references for something that is part of the foundation of Japanese sword study. Waste of time to prove something that is already commonly accepted by the community.

Perhaps I'm biased but I believe that is part of what was behind many great achievements in history

We need a FU button, why don't you onward yourself out of here and don't come back there's no need for that juvenile reactions.

Piers, I think you are correct in that the Japanese preference for the sun is red, much as the moon is generally seen in silver. It seems as with so many things in this hobby nothing is set in stone. Obviously there were additional colors seen in their representations of the sun, such as gold and others. Likely a variety of reasons. It is a very precise and time consuming process to produce that deep red seen on some kodogu. Viewing your tsuba, do you think the insert was once plated with gold or silver or do you think the copper was the original look? Looking at it enlarged I can't tell for certain, but it seems to show traces of a light color (silver?) at the top and bottom. Perhaps it was originally depicting the moon. ??? I think the gold plug on my kozuka was to give it a little bling. I would have preferred something a bit more subtle, but......

Hi folks, I have decided to make a major reset to my book buying and selling business. Ever since I started the website I've tried to have a large selection of swords, fittings, and especially books. I'm now at an age where it doesn't make sense for me to have a ton of paper on the shelves for my wife and daughter to have to deal with if I'm gone. Consequently, I've just finished lowering prices on nearly every title on the site – the 2nd time I've done so in the last year – and I've become quite picky about which books I'm buying to replace sold stock. I currently have a great variety of specialty titles – Sendai Han Tosho Meifu for example, at what I think is a great price - but once it sells don't expect there to be another copy. The same goes for many other books on the site: available and reasonably priced, and they won't be restocked once sold. Fair warning. I just took in 3 fine tsuba and 2 of them with dragons are still here; find them at the top of my Tsuba and Kodogu page. And 2 copies of the most difficult to find book on Nobuie: Nobuie Tsuba Kanbetsu Hikkei with a translation, just came available. Thanks, Grey

Two of my tsuba have red numbers painted inside the nakago ana . I can trace their provenance back to the Sothebys sale of Dr Stevens's collection on the 25th of July 1967 . Dr Stevens had a huge collection that was sold over five sales by Sothebys from 1966 to 1968 Does anyone else have anything else from the Stevens collection or anything with similarly placed red numbers ? I would like to understand whether these numbers are peculiar to the Stevens collection or if they relate to an earlier collectors numbering system . In similar vein I have another pair signed Kikuichi Tsunekatsu . These were sold by Sothebys in their sale of the 3rd of June 1981 and the catalogue stated that they are ex Trower and Stark collections . Both tsuba have tiny stamps on the reverse about the size of a pinhead . I suspect that these may also be a collectors identification mark. Has anyone seen such a mark before ? Ian Brooks

Dear All. This has been and continues to be a wonderful thread. Thank you to all for sharing your treasures. I have to say that the gakumei kozuka that Ed shared is quite something and I think Jean has it right, the gold is simply a way of making something of the nakago ana but it certainly adds to the piece. All the best.

https://www.jstor.or...table/48647105?seq=1 page 5 You asked Jean to state his references. He was referencing the article that you shared, that I linked above. On page 5. But you’re right, he can defend himself, and I’m sure he will if he chooses to. But Dan, your inability to connect the dots is flabbergasting. I think it’s time for me to retire from these fantasy and guesswork threads of yours. Goodbye Dan, best of luck finding the ghosts you’re looking for. -Sam

Kofun period Toran Kei

The sun in Japan is traditionally rendered as red, almost on an automatic subconscious level. I did a little experiment at college with a class of Japanese and some overseas students. I laid out chalks of various colo(u)rs, and called on students to come up and draw a scene (which happened to include the sun). The Japanese students all reached for the red chalk, whereas the Westerners chose yellow. In the present tsuba Jean, I am guessing that the choice of copper akagane 銅, 素銅suaka (or 山銅 yamagane) means the tsubakō was envisioning the sun. https://ameblo.jp/o-...try-12170960771.html

Piers, the KOZUKA is probably very special and rare. While the gold dot just fills in the NAKAGO-ANA, the gold dot on the TSUBA might represent sun or moon, I believe. Looks indeed close!

Occasionally during the more formal Japanese surrender ceremonies, the officers presented their swords in bags along with elaborate tags.

Most sword bags traditionally have long cords for wrapping the inner sword package fairly tightly and protectively. Tying a tag to that would be quite natural.

Yes but I have a diagnosed "handicap" - Asperger's and too much time on my hands!

Kinzogan-mei for named swords are typically not original. They are most often added to blades that are osuriage mumei like the one you shared. And the fact that they have been added later is in no way something that detracts from the value of the sword or it's kinzogan-mei.

Ko-Katchushi

One more with Temple Bells.

One from the Birmingham museum Higo Edo circa 1800. Couldn't delete the double!

https://sword-auction.com/en/product/15489/as22593-大小：延寿宣次作保存刀剣）/

We've seen some 'hail in rain' designs before, but I thought I'd post this one, found on a late-war T98 on ebay

This TSUBA is not really a treasure, it is corroded and has a crack. I purchased it just for the KUCHINASHI no HANA design which I find pleasing. There seem to be remains of black lacquer on it, the other side is still more corroded. I hope it fits into this thread of early (= pre EDO) iron TOSOGU. To avoid the usual defining categories as suggested in the other thread, I see this design possibly as (early?) OWARI province style, but the TSUBA measures 82,5 mm with a thickness of only 4,8 mm (SEPPA-DAI). What do you think?

Why don't you show a photo of the "paper". It might help.

I give up! What is it now? Four tsuba turned into who knows what! https://www.ebay.com.au/itm/167236591293

Found on a Polish Helmet - I don't think it is the same, probably just a proof mark. https://www.antiquew...met-2nd-half-17th-c/

This has been a very interesting discussion. Thnak you Gerry and Jussi. It also makes me glad to be a collector of mere Shinto! Peter

It's important to remember correlation does not imply causation; and not all opinions are created equal. Dan, some food for thought. Can you imagine if I persistently told people on the forum with more knowledge than me, even after they tell me otherwise: "Maybe my sword was made with cast steel, and an alternative hardening method. It has features that I am unable to describe and identify, so it could be RARE, and an example of SECRET KNOWLEDGE." Because that's how all this sounds. Sincerely, -Sam

For those of us who have an interest in Namban guards here are a couple of videos from someone with a Chinese perspective on what would have been identified as Namban. https://www.youtube....v=Njri9wKhP5A&t=630s All the best.

You bet there are triangular tsuba https://collections..../item/O462200/tsuba/ [nice one too!]

Dear Mark. While I hesitate to disagree with my two august companions I fear that I must. It would be useful to see the whole of the nakago but no habaki shi would mark the nakago to show where the habaki should finish and I think the presence of kiri yasurime above the line confirms this as there would be none beneath the habaki. Nor do I think that a loose seppa would cause wear as they are almost universally made from copper, sometimes foiled in shakudo, silver or gold. In any of these cases it would be the much softer metal of the seppa that would take the wear. Having said that I certainly own blades where the prolonged wear from an iron tsuba has caused a shallow and slightly diffuse groove but not one with the characteristics of the example that you show. Example here. Assuming that we accept that this blade has had suriage performed then I believe what you are seeing is where the shape of the nakago has been adjusted to ensure a good fit in the tsuka and for the habaki. If you are interested in exploring this more then 'Facts and Fundamentals' has some enlightening sections on the nakago though I have not found a specific name for the clear change in yasurime that you illustrate. All the best.

Being realistic, I don’t think we as a Forum can do anything that will significantly change things. It is the restriction on the number of swords that a modern smith is allowed to make that creates the difficulty so perhaps we should be looking to lobby the Japanese Govt. to change these restrictions? ….but in reality….it would be to no avail. It is bizarre that artificial restrictions are imposed on some of Japans most talented artisans that are admired the world over. I wonder if the NBTHK or any other Japanese sword organisations have tried?

I am in regular contact with Eric, I have bought my best blades from him, sometimes from a pharmacy, sometimes surprisingly cheap. He is always friendly and reliable. And yes, eBay is a junkyard.

Bought a nice big Saotome from Eric many years ago. Did me a very good deal. As mentioned, better contacting him away from ebay. Also worth mentioning that ebay reads your private mails, believe it or not. So a reply you get from a seller may not be the same reply you get through an email off ebay. Known people, me included on 2 occasions to get warnings about trying to do deals off ebay.

I had a couple of deals with Eric directly through Facebook and I can only speak well of him. The items were exactly as described, the communication excellent and to the point, shipping fast... No complains from my side. Luca

thankyou rob, im not the illogical pot stirrer that i appear to come across as sometimes. i speak directly, and to the point. tho my dislexa make sa meal of it some times and my computer has given up trying to spell check me

i have bought a tsuba from him some years back, and i believe i was a victum of shill bidding. but i also went on to sell that tsuba for a profit here, so rest a peace that he sells good items, you just didnt get a bargin. every platform i know of has this practice. bad but necssary for small busness operators to make a living. but its ebay and there are pitfalls to ebay, scams, returns and theift. im sure that after many sales and loses, hes found the middle ground to making money and losing money. look at the dealer and not what the platform forces him to do. if you want contact him off site and buy that way

Michael, sadly/happily, most of what we wear is genuine old armour, generally Momoyama to Edo period. There are some bits (small primer flasks, footwear etc.) that we sometimes make up but in our troop we pride ourselves on trying to keep it all authentic as much as possible. The kabuto that I am wearing recently has special value papers for example, and I regularly wear all of the kabuto you see in the empty room above. This means that we have to learn how to repair sympathetically as there is constant damage and degradation. (Personally speaking I have a 'good' old pair of sune-ate, which I switch around with a pair from Marutake, to slow such degradation, depending on the weather and the venue.) At the moment I am doing an armo(u)r society translation, and once again giving thanks for the years of experience wearing and repairing and the familiarity with this and that word or expression. And yet there is still so much I do not know. (There are re-enactment troops and festivals where everyone wears repros, though, as you know.) As to the swords, they are all genuine koshirae, but owing to the laws here the blades inside are substitute tsunagi/takemitsu. Once after a public display a member of the public tried to draw my sword, without permission! The guns are all real too, repros not being permitted under Japanese law. My oldest one, a Kunitomo pistol that you can see being fired in the first video, is from around 1600 -1610. She played a trick on me though. Oops...

KO-KACHUSHI TSUBA 83,5 x 3 mm, SUHAMA motif:

We just got done listing some new pieces on www.owazamono.com, including some high caliber swords and tsuba. Here are some teaser photos and will make some individual listings soon. Happy to give a 10% discount to members of the forum. Feel free to reach out with questions, happy to help.

Item No. 157 Copper Tsuba with Silver , Copper , Shakudo and Gold details 7.00 cm x 6.40 cm x 0.40 cm Subject of Bushi entering a room with screens . Pine tree on reverse Hamano School ( Hamano - Masazui ? ) signed Masaaki with kao - Is this Furukawa Masaaki ? Mid 19th cent. Delicately carved and realistically expressed - nice detailing on the screens , featuring Bamboo . Typical good hamano pine tree on reverse. Bought off ebay from Japan nearly 16 years ago.

Item No. 143 Iron Tsuba with gold - 7.93 cm x 7.15 cm x 0.46 cm Subject of bamboo by Patrick Hastings about 10 years ago Simple , restrained treatment of a popular subject. Item No. 144 Iron Sukashi Tsuba - 8.42 cm x 8.22 cm x 0.46 cm Subject of Irises with water droplets by Kevin Adams about 8 years ago Utsushi of a famous image - nice piercing and carving skills.

Item No. 139 - Iron tsuba with gold accents 7.35 cm x 6.53 cm x 0.25 cm Subject of watery landscapes with fisherman and boat , geese flying into land. Signed Kaneie ? Edo period Subtle design and execution of subject , difficult to see clearly , contrasts with the almost brutal shaping and folding of the iron plate . Nicely forged and worked surface with good patina. Bought some eight and a half years ago direct from Japan Item No. 140 Iron Tsuba with gold and silver 7.85 cm x 7.44 cm x 0.49 cm Subject of stylised map of Japan on a background of waves , together with a banner in Silver and Gold in clouds on reverse. The names of the provinces inscribed in gold nunome. Signed Joshu Masanobu ju Umetada Tachibana Shigeyoshi. Umetada School 17th Cent. Painstaking work on the map , still in very good condition after nearly 400 years.

Item No. 120 - Copper tsuba with copper , shibuichi and gold inlays 7.93 cm x 7.18 cm x 0.46 cm Subject of falling Ginko leaves by Ford Hallam 16 years ago. On the carved copper tsuba there are inlays of three different copper alloys and two alloys of shibuichi - the gold highlights applied by fire gilding.

Item No. 115 Iron Tsuba with brass 6.76 cm x 6.24 cm x 0.40 cm Iron Tsuba - Shingen style wire work in brass A wakizashi size tsuba with neatly applied wire work . Unlike a lot of Shingen pieces , this shows a restrained simplicity , and is all the better for it. This shows signs of having been mounted and so was apparently made for the domestic market - a case of ' less is more '. Item No. 116 Iron Tsuba with silver , gold and shakudo decoration - 7.66 cm dia. x 0.55 cm Subject of sliding doors in a wall or gate . Signed Nara Saku. Unusual subject for a Tsuba - the doors are partly open , to reveal whatever your imagination says lies beyond... NBTHK papered

Item No. 92 - Iron Tsuba 7.22cm x 7.12 cm x 0.50 cm Almost circular Sukashi tsuba with theme of waterwheels Any suggestions re school ? late 18th cent. ? Recent Acquisition. Item No. 93 - Iron Mokkogata Tsuba with inlays of pale gold ? and silver - sahari ? 9.22 cm x 8.31 cm x 0.58 cm Heavy tsuba with inlays of Mullein / Verbascum ? in what looks like pale gold and also silver - maybe Sahari but without any ' blowholes ' Very fine detailing for the subject and materials used - very few losses . Nicely worked raised rim . No indication of age or school , showing evidence of multiple mountings. Part of an auction lot about 4 years ago

Anyway , back to the work in hand - Item No. 90 Iron Tsuba in kakugata shape 7.12 cm x 7.00 cm x 0.46 cm Raimon ? Sukashi signed indistinctly Kofu ju Masatomo + kao Simple almost austere design , competently handled . Can Haynes or Wakayama throw any light on to which school / generation this Masatomo belongs to ? Purchased from Japan 9 years ago.

Item No. 84 Iron Tsuba with brass inlay 7.68 cm dia. x 0.50 cm Attributed as Ko-Shoami mitsudomoe design with vines and tendrils , early 17th cent. Nicely made iron tsuba , in good order with all inlay complete. Acquired at auction over nine years ago. Ex Clarence McKenzie Lewis Collection Item No. 85 Iron Tsuba with pewter ? inlays and gold decoration 8.32 cm x 7.85 cm x 0.46 cm Iron tsuba with a total of eight different scenes on inset plaques thought to be pewter , possibly illustrating part of the tales of Genji . Ichijo School. NTHK papered. Smooth , well worked iron tsuba , very tactile . The piece shows a few signs of having been mounted at some point . I have seen a number of these plaques in the past , mainly with tsuba , but these are the freshest that I recall. I think that they are little stampings ( rather than carvings ) which were produced in sets , but these were probably made when the stamps were new and still retained their original fine detail.