Geraint

Hi Dan. I think the "upright copper object" is a tree or post that the boat is moored to. I would guess that the birds are geese. All the best.

Hi Jeremy. Several Bungo Takada smiths signed Nagayuki, Hawley only lists one who signed as yours is, working circa 1596. I would love to see more pictures of your sword. All the best.

Hi Robert. Not so simple. at least one authority said that a tsuba without a seppa dai was never intended for use..... On many tsuba the design uses the space between seppa dai and mimi but quite often the design does run through the seppa dai, sometimes blanked and sometimes continuous. Any generalisation is subject to argument but I associate this more with kinko tsuba. Often the design runs through the seppa dai in the form of engraving rather than anything else though I have seen one sword where the seppa are sculpted to fit raised designs on the tsuba. By the by, some tsuba really seem to change when mounted on a sword, tsuba makers who knew their game must have taken this into consideration when designing their work. All the best.

Hi Bernard. Are you sufficiently bitten to start adding to your father's collection? He had a good eye. This one depicts scarecrows, rather imaginative ones at that. Another lovely tsuba. All the best.

Hi Robert. I suppose it depends what you mean by non functional. I think we conceive a sword guard as something to protect the hand and in that case soft metal raises questions though there are many European swords with brass or bronze guards. As I understand it the function of a tsuba is more to locate the hand and prevent the grip slipping onto the blade than to parry a blow from an opponents sword so the strength of the guard becomes much less an issue. Also of course the function of the tsuba is to say something about the owner, the side of the tsuba most readily visible when the sword is worn would be on clear display. All the best.

Hi John. Late to the party with this, it's morning here. I didn't mean to suggest that you were challenging anyone, just curious as to why you were looking for Bizen smiths. It will be interesting to see what comes back from shinsa with this one, please let us know what the outcome is. All the best

Hi John. Curious as to what leads you to this smith. The sword was advertised as Soshu and with nothing more than the first two kanji it seems like a bit of a jump to a Bizen smith, especially as they widely signed with either Bizen or Bishu before the name. I would think that Andy would have spotted a Soden Bizen sword......... Something more you have found out? All the best.

Brian, mightn't it be worth adding these two and any others we can gather to the Articles section? I know a lot of older threads lose some of their worth because the images linked to them disappear after a time and this one is sure to re occur. Just a thought.

Hi Bernard. To answer you first question: because that is the way the tsuba would be when mounted on a tachi which were worn cutting edge down. Your second question is more difficult from these pictures, my guess would be that two different techniques have been used, hon zogan or true inlay for most of it and perhaps nunome zogan for the crosses as you describe them. If under a magnifying glass you can see a cross hatched surface where the gold appears worn then that would indicate nunome zogan. As it is much more on the surface then it is more likely to wear over time. Hope this helps.

Hi J Greene. As for the first sword, it appears to be a genuine blade with the remains of a koshirae. The snap fitting is not unusual for the leather combat cover which was added for use in WWII. The hilt is missing menuki but the fuchi and kashira are genuine as is the tsuba. The blade does not seem to have lost much of its tip so perhaps worth showing in hand to someone who can advise you but it seems to be a shinto sword, not a showato. As far as I can tell your link has images of the fittings but not the blade, post some more of the blade, as clear as you can, and you might get some more opinions. Have fun.

Ah Hoanh. Thank you for this. I had not realised how important my collection was, all those mumei blades! :D

I see why Stefan suggest partial gilding and not true inlay but I think that may be the photograph; top edge on the second image I think I see some very small losses which would indicate true zogan. Bernard this is turning into a very enjoyable collection of tsuba, thank you for sharing them with us. All the best.

Well, I am going to suggest the lid for a Koro.......

Welcome Bernard! An interesting tsuba. It appears that the kogai hitsu has been completely lined in shakudo which is unusual. As you will know from your research tsuba are almost always flat, thought they may well taper either from the edge towards the centre or the other way. I would suggest that this dished tsuba is an unusual example, the marks covering the seppa dai at the centre of the tsuba could suggest a Namban connection, tsuba influenced by European styles. Others far more knowledgeable than I will no doubt chip in but I find this an interesting piece. Enjoy.

Hi Brandon. Stu and George are on the money but you suggest that hanging onto this one for a better blade might be a plan. Two things spring to mind; in spite of our conception of shingunto as being mass produced they really were not if that is taken to mean interchangeable parts, you could be a long time looking for a blade that this koshirae will fit, or you could end up having to do some work to adapt it to fit which would leave you with a blade evidently remounted. It can be done of course but probably not a good plan. Why not sell this one on and buy that better blade complete with it's own mounts? Have fun.

Hi Ken. If the blade is mid Muromachi then that would be a little late for the tachi/katana transition so katana mei would be expected by then I think. All the best.

Hi Mick. I believe there is a European dirk blade polished and mounted as a tanto in the Armouries at Leeds. I am sure that Ian will know much more. All the best.

Ah! Thanks for the link Peter. That would also explain the variation in quality which is evident in examples such as this one, http://www.ryujinswords.com/mihara.htm It would be interesting to know how, why and when these were produced...........

Hi Mike, Tony is right about the kurikata but if you keep your eyes open you will find quite a few of this type of fitting around. They crop up with some regularity and although I have no evidence to support my feeling it is that they are very late fittngs, produced en mass. They are however Japanese fittings. All the best.

Just a thought, are you certain that they are solid cast metal? From time to time menuki do seem to appear with the back filled with different substances, if this is a later koshirae as you suggest and as it seems to be, I would have expected pressed metal menuki if anything...........?

Hi Kurt While nt exactly answering your question you might find the suggestions from this site interesting. http://members.chello.nl/tfujimot/ All the best.

Ah, Jean. Oil on troubled water?

Hi Jason. You are right, this is a huge topic. If you have not already come across this site, http://www.japaneseswordindex.com then it is a useful starting place. Another good beginning would be to really look at the tsuba illustrated in some of the better books, have a look here for these, http://www.japaneseswordbooksandtsuba.com/about. When I say really look I do mean just that, take your time, come back to the images time and again, understand the way the tsuba was produced and the detail of surface and patination. I suppose a simple answer to your question might be, great artistry, great materials and great execution but I realise that begs the question a bit. Some collectors really see greatness in iron tsuba while some prefer kinko. Whatever you chose to study Ebay is not likely to be the best place to see high quality stuff and a lot of looking will 'get your eye in' Sword shows and society meets are great because you can get a good look at what other collectors are enthusing about and there is nothing like study in hand, especially with someone who can point out to you what they see. I am confident that many members will chime in with their ideas. Whatever you chose to do it will be great fun. All the best.

Hi Christophe, I have bought from Alan and he has been nothing less than totally reliable. If you are interested e mail him and I am sure he will help you out. Regards.

Hi Tom. Not sure where in the UK you are but you made it to Birmingham so hopefully you are within reach of the Northern Token Society, if much to the South then the Token Society of Great Britain meets in London. Chances for you to meet others and see some good stuff plus expose yourself, (perhaps I should reword that?) to some really knowledgable opinions and maybe even some stuff for your collection. If you are in the South West give me a PM.