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Hello, everyone, I would like to share one more fuchi-kashira depicting an eagle capturing a monkey, attributed to Risshū. I find the composition quite dynamic, especially the interaction between the eagle and the struggling monkey. One small detail that caught my attention is the treatment of the monkey’s head, where the hair seems to be rendered with irregular strokes, giving it a rather wild and lively appearance. I have also read that this motif has sometimes been interpreted as symbolizing authority or dominance, perhaps reflecting ideals associated with the warrior class, though I would be very interested to hear other views on the meaning of the scene. Any thoughts on the workmanship or comparable examples would be greatly appreciated. Liang

Pretty much as stated in the description "Gunto Hokoku No.45 Takeuchi No.2". (Hōkoku is a patriotic phrase: duty to country/patriotism). I can't find any other reference to this label anywhere else on the net, so it raises a little yellow flag in my mind. It sure looks properly aged though. But, is it a sticker? Is it embossed on the leather? Is it a one-off item, or did this "Takeuchi" company make any more of these kinds of saya? If so, why can't we find other examples? And I actually think its "No. 415" (not 45, as stated on ebay), but I don't know what the significance of that is.

About a year ago I bought a bronze oil pot for an Edo period Japanese andon lamp. A fine-looking thing, but as is often the case, it had lost its lid. Rather slim in silhouette, it needed a small lid. Round and round the antiques fairs I went, rejecting most but buying occasionally, only to be disappointed once more by the lack of a proper material or age match. Months passed. One dealer who has several weathered antique lids on a string handed me a nice one yesterday that he had been saving for me. “Cut this down to the correct size, using an angle grinder.” “Tin snips?” I ventured. “Definitely not. Grind it down to size!” Gulp. Never really been happy working metals. A delicate thing with definite age. What if I ruin the old lid? Still, lonely hearts club, etc., so a potential new life for the pot I reckoned, and got to work shrinking the thing. Hand files and sanding papers though. Getting close to the right size? About 6.7 cm across… Hmmm… .

Nor me, too damned hard! Looks like a perfect job to me Piers. Patience pays🙂

Thanks Bruce and everyone who contributed knowledge to help me learn about this blade.🙏🏻 Nothing but respect.

Please see below.

Spotted on eBay this morning. https://ebay.us/m/6KRoOF

Better blade pics are needed.

Looks great. Having a full workshop here with lathe and knife belt grinder etc, I'd make short work of that. But you did awesome and it looks great.

Found this blade in a grandparents belongings that has passed and trying to figure out what it is, Any info greatly appreciated

長運斎是一? Chōunsai Korekazu perhaps. Often the names on such Kozuka (small side knife for a katana, etc.) were not signatures per se, but attributions in respect to or honoring a famous smith. PS There’s a great movie from 2004 “Hidden Blade, Oni’s Claw”, where one of these Kozuka plays a key role.

Nice pieces… Markus Sesko has an excellent article on this topic: https://markussesko.com/2014/02/02/tsuba-with-the-bird-of-prey-catching-a-monkey-motif/ It’s really interesting to see how the motif has not only been depicted slightly differently, but also can interpreted differently.

Wow, thanks Sam! Extraordinary. @SteveM @BANGBANGSAN Interesting to see the leather band on the haikan, too.

I agree. The nakago appears to be something older than WWII.

@Scogg Sam: I have a couple more projects that should be finished in two weeks or so - another shirasaya for a fukuro yari and a suzuribako tansu. I was wondering if we could have a dedicated forum (or pinned combined thread somewhere) for member-made sword related items. I know there must be at least a dozen or so separate threads for shirasaya, armor, tsuba, etc. If you think it worth the effort, maybe you could run the idea up the chain-of-command for me? John C.

Yes Piers, unusual indeed! YAKITE technique is exclusively applicable to iron TSUBA as far as I know.

Hmm, this had not yet occurred to me, but it makes perfect sense that it's possible.

Everything is possible However, I still see a relatively simple carving style that is characteristic of many works from the Nara school. A good example, Liang! I have books by this author; this kozuka is very similar in carving technique and execution - a good school work. Everything is understood through comparison; when looking at these works, there are fewer questions… https://collections.vam.ac.uk/item/O465406/tsuba-sugiura-issando-nagaharu/

While looking through another reference, I came across a kozuka with a very similar Kanzan and Jittoku composition in a Russian publication on Japanese sword fittings. The treatment there appears somewhat simpler, but the overall arrangement of the figures is quite close. I thought it might be interesting to share it here for comparison.

Regarding the comments about the inlay appearing rough and the ornament not being perfectly symmetrical, I wonder if this might relate to the carving approach used in some works attributed to Sugiura Jōi (Ichisandō Jōi). In the nikuaibori manner the figure is first established through carving and the inlay applied afterwards, so the edges of the inlay do not always completely disappear into the ground. As for the robe ornament, although the scrolling pattern is not strictly symmetrical, I noticed a very similar treatment in published examples of Jōi’s work. I am attaching a reference image from Fukushi Shigeo’s Machibori Meihin Shūsei (町彫名品聚成), where the illustrated piece is considered a representative work by Jōi and is designated an Important Art Object. Just to clarify, I’m not trying to defend my own piece — I’m mainly interested in discussing the technique itself. Liang

These are indeed good kozuka, however I would like to draw attention to a few points. This is indeed a deer hide on the belt, which is often seen in paintings depicting these characters. The spots do resemble inlay, I agree. However, the quality of the inlay in the hair and the golden bows on the head is not perfect, and the surrounding field is also not ideally finished. This is the first thing I always pay attention to: whether there is a gap between the ground and the inlay itself. After that, it is important to level and polish the ground perfectly using different stones and charcoal so that it becomes flush with the rest of the surface and hides the traces of the inlay. This is quite a labor-intensive process, so truly perfect execution is usually found in high-level works. The carving, in my opinion, is rather ordinary; there are irregularities both in the work itself and in the signature on the seal. This is simply the carving technique - almost all Soten signatures are carved in this manner. The Joi signature, in fact, was very frequently copied, and I am inclined to think that this is gimei, although I do like the overall composition and execution! Best regards!

Correct Liang, The kashira depicts Taigong Wang / Taigong Jiang. Those who like video games will appreciate his appearance as a character in TECMO KOEI's Warriors Orochi series... I have not heard this saying before but it is quite fitting! The picture I uploaded last time does not reflect the true quality of this piece... Here's a better one:

Reading this story reminded me of an anecdote shared by Ted Tenold many years ago on this very board: I remember a story relayed to me about a Japanese swordsmith that was a visiting guest here in the US. He has made a few small tanto while here and was signing them the morning after a long night of libation. As he was inscribing the mei, he made an abrupt stop from his pace. He grunted and shook his head obviously annoyed by his misplaced strike of a single stroke. Looking up at the observers he laughed lightly and said, "In two hundred years, this is gimei!", then went back about his business. https://www.militaria.co.za/nmb/topic/4357-signature-comparisons/#findComment-38825 Useful reminders that for all their artistry and consistency, the great artisans of old were still human and subject to the same pressures as us; a slip of the hand, a bit too much sake the night before, the infirmity of age and sickness.

VERY GOOD POST BY COLIN> This is my favorite _half gimei_ Purchased in 2007. Now Tokubetsu Hozon NBTHK. Signed on the front by shodai Norisuke. Signed on the back by nidai Norisuke with his early signature "Norishige". It bounced around Europe for many years as a gimei. I bought it and studied it. Over time and with Tanobe-san help, I came to feel that the 'gimei' mistakes on the front were consistent with the nidai's handwriting. This design was known to be one of the last ones done by the shodai. There is a dated one on record. As the shodai lay ill and dying one winter, it seems the nidai finished the work and partially forged his adoptive dad's signature. Thus, it passed shinsa as a daisaku finished by the nidai. If we didn't have extensive records of the shodai and nidai, this one would have been declared "GIMEI' by the public at large. Judges things by the workmanship. Some people collect signatures, but sometimes you just have to appreciate a finely made piece and ignore the signature. I too like the kozuka of Kansan sweeping. Some of the gold inlay, [on his leggings] is the work of someone very skilled. Nice kozuka. Workmanship is good. --You get sick of it, I will trade you something for it.

The second one is definitely Nerigawa.

Hello, I share with you an interesting and rare old Hoate (or Hanbô) from the muromachi period (15-16 th). A half-mask made of natural iron, of the "Hanbō" type, covering half the face and excluding the nose. The inner surface is lacquered red. A sweat vent and a channel (ase nagashi) are present on the lower part. Two stamped iron "yadome" straps on each side of the mask guide and protect the helmet cord, while two iron studs (otayori) on the lower part secure the cord. The four-row gorget (yodarekake), very likely contemporary with the mask, is made of superficial iron strips covered with lacquered leather, joined together in a "hon kozane" style and then in a "kebiki odoshi" style with printed suede "egawa" cords and red silk. This half-mask is designed to cover part of the face while also protecting the cord and ensuring the helmet (still quite heavy during the Muromachi period) stays in place and distributing its weight more evenly. Half-masks from this period are extremely rare. The mask's shape, with its iron gorget covered in lacquered leather, immediately suggests a very early date, further confirmed by the black corrosion of the iron, which allows us to date the object to the middle of the Muromachi period (1336-1573). Some examples of hoate wearing during the Muromachi period : Handscroll : A Long Tale for an Autumn Night (Aki no yo nagamonogatari) ca. 1400. Metropolitan Museum of Art New-York, 2002.459.2 https://www.metmuseum.org/art/collection/search/65122 others exemple :

On the road from Santa!