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.....That is my kind of tsuba, old and rusted!.... Maybe you really don't understand? Rust is the enemy of iron. It is not a decorative feature on TSUBA, it even does not necessarily have to do with age. It is not a layer on top of the surface, it is the material itself, turned into oxide. Rust is eating up a TSUBA and should be removed or at least reduced/inactivated. If one can understand this process and has a minimal feeling of respect and responsibility towards an antique, handmade object of art/craft, they would want to preserve it in an appropriate way. This is not done fast with chemicals, it is a labour of love and care - and time. It also requires a basic knowledge of how an iron TSUBA is made, and how they are traditionally preserved and stored. Being a caretaker of an antique object has nothing to do with personal taste, it is first and foremost an obligation to learn, the more if the object is belonging to another culture with possibly different value perception and appreciation. In case you care to read about the WABI-SABI concept, you will find that Japanese appreciate objects (often of simple character like traditional household items) that show respectful, long-term use. Not neglected, not just "old". There is a form of love behind that, of deep understanding and respect. And also - perhaps - a feeling of thankfulness towards the ancestors who preserved the item so carefully. Did you know that in SHINTOISM, it is believed that handmade objects ( as well as old solitary trees, rocks, waterfalls a.s.o.) used by many hands (e.g. a good DEBA knife for the kitchen) over many years, can carry a KAMI, a good spririt who is nourished by the good intentions, respect and care of the people. When, after generations, the knife-blade is used up so that it cannot be sharpened any more, they carry the knife to a priest in the SHINTO shrine and have him release the KAMI from the knife in a ceremony. Only then the remains of the knife can be recycled. I am sorry for going off the path, but I wanted to underline that we have to accept that in another culture things may be seen differently in comparison with what we are used to. We are requested to learn and respect that. We do not need to become Japanese citizens to be good TSUBA collectors, just showing a minimal respect and awareness for what we hold in our hands.

Hello, May I have your opinion on this kozuka ? It has a cloisonné enamel butterfly which leads me to believe that it is from the Hirata school. Could it be another school ? if so, which one ? Thanks

Sorry, but it's a Chinese Fake.

Hi Guys We will be holding a small private exhibition next Saturday the 7th in Adelaide if anyone would like to attend please contact me for details. I've just returned from Japan and have acquired several excellent cutting test swords of your in the market for one please get in touch with me. Regards John 0417642921

And for the tsuba Issando Joi: 一賛堂乗意 https://www.metmuseum.org/art/collection/search/25731

More photos!

My wife and I just successfully exported a Edo-era Katana and a Muromachi-era Wakizashi - both bought in Japan - via a checked suitcase on a United Airlines flight from Sapporo to the United States (via Tokyo). We were extremely nervous, did a lot of research in advance, and wanted to share our experience. Sharing in case this helps others. First off, we purchased a padded gun case with heavy duty TSA pad locks to transport the two swords. This ¥24,000 that we spent on the hard case was a wonderful investment. I highly recommend Lykus brand suitcases for this purpose. Secondly, we live in Japan and processed the entire Export Certification process ourselves. If you don’t speak Japanese, or don’t live in Japan, I would highly recommend using a private service in Japan for obtaining the export certificate (most Japanese sellers seem to include this in the price of the sword). Other private companies offer export certification services (even if you don’t buy the blades from them). Doing it ourselves took six weeks from submission to receiving the certification. Written Japanese language proficiency was necessary. Other lessons learned: (1) Departing from a city other than Tokyo or Osaka made things a bit more difficult. The Sapporo check-in agents were unfamiliar with nihonto export procedures and required that we have our suitcase reexamined in Tokyo. (2) The export process in Tokyo involved two customs agents and a police officer inspecting the blades and export certification. My personal details, including residence card and passport, were copied. They applied a magnet to the blades to confirm that they were made of iron. The whole process took about 45 minutes. Bottom line: Budget extra time if traveling with nihonto. (3) Customs in Tokyo kept the original export certificate. Make a copy. (4) I was also traveling with some expensive tsuba and spare antique sword parts. We did not obtain export certificates for the tsuba. Customs did not think twice about tsuba or any of the other sword parts we traveled with. It remains unclear to me if tsuba require export certification procedures. (5) Fearing theft, I packed both wrapped blades with discreetly hidden Apple AirTags. These gave me peace of mind, but may have not been necessary. Good luck to those traveling from Japan with Nihonto!

And more photos please.

Are you sure the material you are reclaiming is actually shakudo? I recently had cause to examine a few such tsuba when I stumbled across them on another thread…..and I have my doubts. There are several alloys used by the Japanese to create a shakudo effect (see Nagoya mono) and given that these tsuba are largely very cheaply made imitations of the real thing I wonder why they would use any of the most expensive alloy in their manufacture. Even if they are shakudo, chances are that the gold content will be very low which coupled with the very thin plate then maybe the tsuba, even if in rough condition will still be worth more as tsuba than as atoms of gold?

Thank you John, best regards John

Dan, honestly, no need for name calling. Jean is diving into some interesting cultural areas, which is hardly more "off the rails" than many of the discussions that happen here. You don't need to defend your approach to tsuba collecting, just enjoy it. My two cents on tsuba storage - the thing that makes me the most nervous is actually those tsuba boxes with the fabric lining. They look great, but if not properly stored, with good humidity control. they can be an invitation for moisture damage. I've seen tsuba where you could tell which face had been down. I'd actually take Dan's "hang it on a nail" approach over the boxes... although preferably neither :-).

Hi John, For the menuki 横谷英精 - Yokoya Eisei

I think the left is the hand radical - 手 （扌). So maybe the character seal script is the Chinese character撿 （jiǎn)

From what I can see, this is shingane. The appearance is typical (a patch of darker, fairly featureless jihada as an island in a more 'normal' body of jihada for the kawagane).

Tsuba are art objects and old artifact that deserve to be treated accordingly. Restoration shall be done properly with proper techniques and tools. Dealing with hundreds of years old artifacts put us in the position not of owner but of keeper. We have the responsibility of taking care of objects that will outlive us to pass them down to future generation. This sentence of yours, Dan, shows that you have completely misunderstood the heart of this hobby! I suggest you to read this thread: What it is said in this post for swords also applies to tosogu. You can call me a snob now, frankly speaking I do not care! Luca

Dai - signed Harima Daijo Tadakuni - ubu 75 cm with koshirae Test cut - yamano Nagahisa cut 2 bodies in half dated Sho - signed Harima Daijo Tadakuni - ubu with Koshirae 43.2 cm Test cut - Yamano Nagahisa cut 2 bodies in half same date as the Katana Nagahisa was the most famous test cutter of the Edo period . Rare to find daisho with test cut on the same day

And there is the difference between collectors! That is my kind of tsuba, old and rusted! If I could have purchased it for under $150 U.S. all I would have done is clean it with gun bore cleaner, dipped it in mineral spirits, dryed it off, put a nail in the wall, hung it up and called it good to add to my collection and enjoy! But that is just me!

Hi Dan, It’s already implieid that uncited conversational comments are your opinions. Calling someone a “snob” is name-calling, and accusing others of being part of a conspiracy to benefit restoration businesses, something you’ve entirely fabricated, can be viewed as slander. In the opinion of others you are sharing bad advice, and theirfore receiving pushback for it. If that makes you feel intimidated, ridiculed, berated, or belittled, that is your perception, but it does not justify personal attacks or spreading false claims. This forum is explicitely for the study and preservation or genuine Japense artifacts. I sincerely hope that means we're all "snobs" when it comes to this stuff -Sam

Kanekado December, 1944

That large Masahiro blade would be a nice one to see. The Yukimitsu tantō was featured in NBTHK 2024 exhibition. I have the book and I recall seeing some images of it in private. It is historically very important item, just that personally I don't have huge love for late Kamakura Sōshū. I personally prefer Nanbokuchō Sōshū with Sadamune, Hiromitsu and Akihiro. Very controversial opinion perhaps but I like what I like

Easy to spot as fake. - There is no HADA, that is a form of Damascus steel - tha characters are chiseled upside-down in the blade

Agreed. I know they don't allow photography for the Juyo exhibitions since these are all private collectors' blades, but hopefully someone convinces the owner to lend it out for some upcoming exhibition about Soshu or old Koto blades, and then we'll be able to view it in visitor photography and the museum catalog.

Found it !! Its available on the PDF list of items. Thanks again. Always something to learn on this great Forum :-)

Thanks HB. I am guessing that you are referring to the QR codes available at the exhibition itself ? This is not available online anywhere ?

Use the QR code and it takes you to the individual descriptions in English.

Rohan, Thanks for this link. Could you please explain how you got to this link as I can't find it via their website (is this only for members ?) Thanks.

The Yukimitsu tanto, with a unique hitatsura hamon, zaimai placing him still in Kamakura in 1322. This one really needs a photographic record.

My understanding is that the ¥200,000 “threshold” was (and remains) very unofficial. The export certification application for sword parts (which is a different form from the sword export certification) makes no reference to purchase price or estimated value. My understanding is that customs clearance for tsuba is based on the customs official’s judgement about whether the item could be considered a protected item.

Dear all, I struggle with the mei on these menuki and on this tsuba. Any help is appreciated. best regards John L

Update: For those who can't make it there, a page with an English writeup of all the exhibits is on the NBTHK's website (sadly, still no photographs): https://www.touken.or.jp/english/explanation/thefrontsndbackside.html Of particular interest - a Yukimitsu which is the only hitatsura blade by this smith to feature a zai-mei, a Kotetsu with a cutting test mei, and an absolutely massive (nearly 95cm) Hizen Masahiro which was likely a shrine dedication.

Shinano no Kami Nobuyoshi

I have several examples of tsuba with stacked sekigane in my collection and I always consider this a good thing as these tsuba are of a good enough quality where they have been taken care of and fitted for a blade more than once.

Agreed. 100% fake. Here is a pictorial guide on how to distinguish between fakes and the real deal: https://www.jssus.org/nkp/fake_japanese_swords.html

Hello Everyone! After 1.5 years in my possession, the kodachi I had acquired is now being sent for shinsa! Wish me luck as we anxiously wait! In other news, to celebrate this occasion, I took new photos of the blade. Feel free to send your thoughts! All the best, Nich

It reminds me of the left side of "censored". John C.

The nakai-koshirae is a sight to behold in person, one of many he has shared with the club...

They've been around a very long time. Widely respected, though their site hasn't changed much in nearly 25 years. They post less items each year, so I worry about their age. While I don't think I have every bought from them, I have seen some purchases from them. Usually it is pretty good stuff. I am still trying to buy a tsuba from someone who purchased it from Tokugawa Art. I wish I had seen it and bought it when they had it listed. One of my neighbors beat me to it. Every now and then, they surface some gems.

I can ask for more info!

“…the shingane appearing is a distinctive feature throughout all of middle Aoe as the sumi hada of Aoe.” From Fujishiro Koto hen A couple of pictures from my mu-mei blade attributed to Chu Aoe Yoshitsugu by NTHK-NPO

I have one with a triple stack also, I always tell myself it means its been much loved by previous owners.

Not dissimilar to the first tsuba I bought. Fortuitously fits my small Senjuin katana perfectly with zero movement.

Over the last week I have been attempting to recatalog my small assortment of kozuka, menuki, and tsuba on this side of the planet. It's confusing because I have a different set of numbers at either end, and when I carry some backwards or forwards the numbers can clash, needing renumbering. There were a couple of tsuba I do not remember buying, and for some reason left no record of how much I paid. Aaarrrgghhh... While doing so though, I rediscovered several that I had forgotten, or was thinking that I had swapped out or sold. It was a joy to see them again, and to consider that years ago I had appreciated them enough to have chosen them back then. Some of them I would never sell, I realized, as they speak to me personally and it is not a question of market value. It was a delight to hold them in hand and to find new aspects or details to appreciate. Why collect these things, people ask? Well, one answer could be that as my Alzheimer symptoms progress, I will soon be able to experience the joys of rediscovery as often as there are weeks in the year or days in the week! "A thing of beauty is a joy forever." Endymion, John Keats.

Keep on keepin' on, brother!

I love this sentiment. I collect because I love the aesthetics of the tsuba, and I pick pieces that I want to look at every day. I never get tired of them, and I aspire to have so many that I too will be able to rediscover them when I go digging into my cabinets.

That is a very fine Daisho, can't recall seeing one with with matching cutting tests before.

In the first place, preservation has nothing to do with the value of an object. Any antique iron TSUBA will turn into oxide earlier or later, but with a proper protection treatment (which can mean rust-removal and new patination) and good care (e.g. not hanging it on a nail wall...), it can survive more centuries. But that has to do with some understanding of the processes and the necessary responsibility.

Yes Derek, I will have to agree with you on that one. But if I could afford to spend $5,000 to $10,000 U.S. on a tsuba and then another maybe $500 to have it repaired and papered, I wouldn't be able to enjoy it! After spending that much money on a tsuba I would have to place it in my bank safety deposit box! There are those that collect tsuba for enjoyment (like me - and I don't usually spend over $150 U.S. for a tsuba) and then their are those that collect tsuba to sell them and make a profit. Oh well, to each their own.

Thank you for posting that. I geeked out on reading it. I had not known Fred W. had such an article tucked away on his site.

Steve, I have made leather seppa ...... cut as perfectly as possible, oiled and then squash the crap out of it overnight in a vice before final trim. They come out quit hard/stiff. BUT i have generally only done that when replacing ' leather for leather' and I would never go to the multiple thicknesses you have. Bruce is quite correct, it will keep it tight but only until until you locate the correct sized seppa for both sides of the tsuba and matching that particular model. 10 points for your efforts so far, but it really doesn't do the sword any justice at the moment. Rob