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.

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......

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

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.

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.

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

Ko-Katchushi

One more with Temple Bells.

Yes, you are right, this could have helped, unfortunatly the seller in Japan (a perfect gentlemen by the way) didn't inclued a tag in the pack. By the way, French Post Service is very little helping in this case. They consider they only have obligations towards the sender despite they made me pay customs fees and service fees to take the custom process done... No way to ask further investigations or research. You can not trust Post agents anymore, it's really a shame ! Best regards, Eric

Love it. Age etc., very different, but a tsuba with some thematic similarity?

On Saturday the local branch of the NBTHK are holding a New Year’s party at an Indian Restaurant in town. Everyone will be asked to say a few words. As usual they have asked members to bring an object for the Bingo game. These will be laid out in advance for people to drool over. Some of the artisans bring things that they have made! Others bring tōsōgu from their collection, or a book, sword pillow, etc. Yesterday I had an email reminding me to bring something along, and now I find myself trying to find a balance between too good and not good enough… (If you are too generous then other gift givers will feel x, y or z. If you are too miserly, or your object is of little interest, it will be left naked and last on the table that people choose from.) Hmmm… last year’s did not quite hit the sweet spot!

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

We've seen plenty of examples from Tatsutoshi and his students Namitoshi and Tatsunao, but this (from Facebook) is the first one I see signed Naminao:

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.

Below is a chronological listing of books about modern Japanese edged weapons from 1868 to 1945 published after 1945. (This thread is an update of a previous one called Bibliography of Modern Edged Weapons, 1868-1945.) I would like to give thanks to BangBangSan (Trystan) for providing the information about Chinese language books. Any comments, corrections, or additions welcomed, either publicly or privately. Inami Hakusui 伊波･白水. Nippon-tō: The Japanese Sword. Tokyo: Japan Sword Co., Ltd., 1948. Yumoto, John M. The Samurai Sword: A Handbook. Tuttle Publishing, 1958. Robinson, B. W. The Arts of the Japanese Sword. London: Faber and Faber, 1961. Ōno Tadashi 大野･正. Gendai tōkō meikan 現代刀工銘鑑 [Encyclopedia of Modern Swordsmiths]. Kōgei shuppan 光芸出版, 1971. Index https://www.japaneseswordindex.com/gtmindex.htm. Gregory, R. Japanese Military Swords. 1971. Gendaitō meisaku zukan 現代刀名作図鑑 [An Illustrated Book of Modern Sword Masterpieces]. Satō Kanzan kanshū 佐藤･寒山 監修 [Editorial supervison by Satō Kanzan]. Tōken shunjū shinbun-sha 刀剣春秋新聞社, 1977. Index https://www.japaneseswordindex.com/gmzindex.htm. Ōno Tadashi 大野･正. Gendai tōkō･kinkō･shokkata sōran 現代刀工･金工･職方総覧. [A General Survey of Modern Swordsmiths, Metalworkers, and Artisans]. Seiun shoin 青雲書院, 1977. Gregory, R., and R. Fuller. A Guide to Showa Swordsmiths: With 106 Oshigatas. 1978. Murakami Kōsuke 村上･孝介. Shōwa tōken meibutsu chō 昭和刀剣名物帳 [Catalogue of Noted Japanese Swords of the Shōwa Period] Tōkyō 東京: Yūzankaku shuppan 雄山閣出版, 1979. Fuller, Richard, and Ron Gregory. Swordsmiths of Japan, 1926–1945. 1983. Fuller, Richard, and Ron Gregory. The Oshigata Book. 1985. Fuller, Richard, and Ron Gregory. Military Swords of Japan, 1868–1945. London, GB: Arms and Armour, 1986. Johnson, Larry. Japanese Bayonets: The Definitive Work on Japanese Bayonets, 1870 to the Present. Broken Arrow, Okla.: Cedar Ridge Publications, 1988. Miyazaki Masa[o] 宮崎･昌幸. Imperial Japanese Daggers, 1883–1945. 1980s. [During the 1980s, Masa handed this booklet out to collectors to show them the dirks that he was interested in.] Imai Akio 今井･昭夫and Ikemori Masato 池森･正人. Nihon no gun'yō tōken 1868-1945nen 日本の軍用刀剣1868-1945年 [Japanese Military Used Swords, 1868–1945]. Army edition 陸軍編. 2 volumes. Zennihon gunsō kenkyū-kai 全日本軍装研究会, 1990. Shindō Susumu 進藤･進. Nihon guntō zuroku 日本軍刀図録 [Illustrated Book of Japanese Military Swords]. 2 volumes. Zennihon gunsō kenkyū-kai 全日本軍装研究会, 1991. Volume 1 第一巻: pages 1–161; Volume 2 第二巻: pages 162–319. Kishida, Tom トム･岸田. Yasukuni tōshō 靖国刀匠 [Yasukuni Swordsmiths]. Tōkyō 東京: 1994. Tsutsumi Akira 堤･章. Guntō kumiai shimatsu: Rikugun jumei tōshō no shūhen 軍刀組合始末: 陸軍受命刀匠の周辺. Aizu bunkazai chōsa kenkyūkai 会津文化財調査研究会, 1994. Dawson, Jim. Swords of Imperial Japan, 1868–1945. Newnan, Ga.: Stenger-Scott Publishing, 1996. Fuller, Richard, and Ron Gregory. Japanese Military and Civil Swords and Dirks. Charlottesville, Va.: Howell Press, 1997. Kishida, Tom トム･岸田. Yasukuni-tō: Dentō to bi no kyokuchi 靖国刀: 伝統と美の極致 [Yasukuni Swords: Tradition and Ideal Beauty]. Tōkyō 東京: Yūzankaku shuppan 雄山閣出版, 1998. Kurihara Hikosaburō Akihide zenkiroku: Nihontō o nido yomigaeraseta otoko 栗原彦三郎昭秀全記録: 日本刀を二度蘇らせた男 [A Complete Record of the Life of Kurihara Hikosaburō Akihide: The Man Who Saved Japanese Swords Twice]. Kurihara Hikosaburō denki kankō-kai 栗原彦三郎伝記刊行会, 2000. Wallinga, Herman A. Gendaito Made at the Minatogawa Shrine. 2000. [35 pages.] Slough, John Scott. An Oshigata Book of Modern Japanese Swordsmiths, 1868–1945. Rivanna River Company, 2001. Fimio, Frederick A. Swords and Swordsmiths of the Gendai Period, 1868–1989. Edited by Jane Nittolo. Barrie, Canada: The Japanese Sword Society of Canada, 2002. Kapp, Leon, Hiroko Kapp, and Yoshindo Yoshihara. Modern Japanese Swords and Swordsmiths: From 1868 to the Present. Tokyo: Kodansha International, 2002. Kishida, Tom. The Yasukuni Swords: Rare Weapons of Japan, 1933–1945. Translated by Kenji Mishina. Tokyo: Kodansha International, 2004. Dawson, Jim. Swords of Imperial Japan, 1868–1945. Cyclopedia ed. Newnan, Ga.: Stenger-Scott Publishing, 2007. LaBar, Raymond C. Bayonets of Japan: A Comprehensive Reference on Japanese Bayonets. Tunnel Hill, GA: RAYMAR, 2008. Banks, Ken. Japanese Pattern Dirks: The Banks Collection. Zor’s Military Antiques, 2011. Xu Yao Hua 许耀华. Ri Ben Dao Chuan Qi 日本刀传奇 [The Legend of Japanese Sword]. 航空工业出版社 Aviation Industry Press, 2012. Chinese language 中文. Fuller, Richard. Japanese Sword Surrender Tags, 103 Fully Translated: Plus Retention Certificates & Surrender Letters. Dreadnought Publishing Co., 2014. Kapp, Leon, Hiroko Kapp, and Leo Monson. Modern Japanese Swords: The Beginning of the Gendaito Era. CreateSpace Independent Publishing Platform, 2015. Wang Hui 王･辉. Ri Ben Leng Re 日本冷刃 [Japanese Cold Steel]. Shan Dong Mei Shu Chu Ban She 山东美术出版社, 2016. Chinese language 中文. Bowen, Chris. The Kato Smiths of Meguro, Tokyo: Taisho to the Present – Excellence in Obscurity. 2017. Ohmura Tomoyuki 大村･紀征. Shinsetsu tatakau Nihontō 真説 戦う日本刀 [True Theory, Japanese Fighting Sword:]. BAB Japan, 2019. The End.

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 agree as others of said that smaller items like kiridashi or mekuginuki would be more ideal since it wouldn't be limited to just one smith. That of course still leaves the problem of logistics. How many smiths willing to participate for smaller pieces, how many pieces produced and as mentioned before, who is going to represent NMB members for shipping and any potential issues? Many years ago Mr. Martin (in a smaller endeavor than the one listed above) did something similar. He had a run of small mekuginuki, made from tamahagane in the shape of nakago signed by the smith. It's currently buried in the back of my safe and I cant recall the details, but as I remember it was a success in terms of sales distribution. Mr Martin was the one spearheading it and I dont know what % of funds actually went to the smith, but it seems feasible to do something similar and I would certainly be onboard.

Few problems. The logistics and time involved for the forum. Also the fact that Paypal doesn't allow raffles, and that is really the only easy way to do payments. The profit for the smith really wouldn't change their circumstances for very long either. Plus you'd need a go-between to work with the smith and the forum. Not an easy task. If we had someone connected to the Japanese smith world, would be better to do a deal for a run of kogatana with nice hamon, that can be done as a pre-order for the NMB and maybe be a special NMB project. Or something like that. But again, needs someone as a go-between.

IMO, the only way is to promote the art : making expositions around the world, entry level books (as the last one from Paul Martin), qualitative but accessible youtube chanel or netflix-like documentaries, movies, inviting more new comers in the field by sharing our passion daily if we can... Personally I dream about a blockbuster historically accurate (for what we know) on the life of a swordsmith, like Kotetsu or Go-Toba, highlighting swordsmithing of course. Most of us came to the hobbies thanks to Kurosawa for example.

what my experience with Eric is: reliable competent friendly a nice guy with good stuff always worth a look

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

Mid-size tosho, multilobe mokko shape. The use of repetition and alternation shows a more sophisticated design than what is typical. It does not seem to be a ka-mon. The narrow hitsuana indicates a mid-Muromachi timeframe.

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

You would have to take that up with the NBTHK. Their call was Ono.

The crown or ball of the tassel is a separate piece that covers the ends of the strings. You can see on the sword below where the crowns have come off.

Bought a similar Saotome from Eric some years ago. WOW, scary prices on those types nowadays. 25_Tsuba Saotome 3 — Owazamono

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. 141 - Fuchi Kashira in Shibuichi , Gold and Shakudo Subject of quail amongst millet, signed Naomine Part of large lot , bought at auction 8 years ago Item No. 142 Iron Tsuba with gold 7.50 cm x 7.18 cm x 0.53 cm Subject of Moon in clouds with cuckoo . Below , a stream flows quietly by ... Signed Eiju ( Seiryuken ) with seal- originally with the Tetsugendo school. A beautifully imagined scene with the depiction of the stream bank of particular note. .

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. 108 - Iron Tsuba with gold 76.9 cm x 7.12 cm x 0.56 cm Subject of peony and shi-shi in sunken relief cave or caverns. Signed Yoshihiro- age unknown. Could this Yoshihiro be from the Myochin lineage ? If so it would be of considerable age but somehow it feels younger in the hand. High grade workmanship all round with painstaking details on the rock carving and a highly animated shi-shi almost leaping free from the plate. The peony, eye and bud appear to have been carved from solid gold . The plate itself showing pleasing grain structure , not untypical of Myochin , hence the question above regarding artist school. As usual , any comments , help or corrections gratefully received.

Dear Bob, when we see a wasp on tosogu it is often wordplay (which the ancient Japanese loved). One of the more common combinations is wasp and monkey which in Japanese are homophonous with “granted fiefdom” and “lord” respectively. So a monkey grasping a wasp means the good fortune of being made the lord of a fiefdom, but a monkey simply watching or ignoring a wasp means something like “don’t waste your opportunities”. See the following NMB thread for more info on that theme: https://www.militaria.co.za/nmb/topic/30375-ishiguro-masatsune-2nd-generation/ In the case of your tsuba Item No. 104, wasp can be read as Hou (or Hachi) in Japanese and deer can be read as roku (or shika). “Hou” plus “roku” makes Houroku which sounds like the word for the “stipend or salary” that a Samurai receives when starting out as a warrior. This makes your tsuba an excellent tsuba for a gift to a new Samurai. Darcy has another beautiful example and explanation of this theme here: https://yuhindo.com/goto-joshin/

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

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.

Item No. 83 - Tsuba in Shakudo 7.60cm x 7.11cm x 0.59 cm at centre , 0.38 cm on rim Repeating punched pattern on heavy shakudo plate , signed Goto Koju. Good quality workmanship , as you would expect from this school , with all punchmarks in nigh-on perfect alignment. Bought direct from Japan , 10 years ago.