Ford Hallam

Hi Anne, I think the description of the type of tsuba is sound...it just it's actual age that may be open to discussion. My feeling is that your example is not quite as old. regards, Ford

My opinion is that it is a gimei Gassan Sadakazu. I could post some images of mei from the Boston Museum Catalogue on the Gassan school if there's an interest. The saya looks like a cheap tourist piece too. The rest of the mounts look reasonable but I don't think they are exceptional.

Cheers, Mark. I got that one

I think John's description of the tsuba is spot on, all I can add it that the "mei" appears to be written in hiragana and reads; "su hi". I have no idea what this might signify but looking at the close up of the "mei" I get the impression that it was made some time after it was made, perhaps quite a long time later.

Hi Borjan, I would tend to agree with Brian, although I would add that the fact that it follows the hamon is troubling. It may indicate something more serious, like a crack between the hardened edge, hamon, and the softer body of the blade. This would have happened when it was quenched in water at the time of making and is a result of the different rates of cooling and contraction etc. Of course it may only affect the outer layer of steel and not the softer inner core. Any images of this puzzle? regards, Ford

thanks for that, Jacques, I didn't know that.

yes, apparently these "gasshaku" works by father and son are not uncommon.

Just a quick word to the wise; I found this while looking for some example of Hisamichi blades.; here's the link funny thing is...it's actually for sale on Ricecracker...at a more realistic price.

and I fell off my desk while doing a handstand trying to read it upside down :? ...you must make more effort, Stephen

here you go, an oshigata to compare it to. This one from the Shinto-shu by Shibata obviously the one on the left is the one to look at

Eric, thank you very much. Yours considered words are very flattering. I'm so happy you appreciated what I've been working at for so long. Thanks too, Brian,...perhaps I should adopt a Japanese name...it may help, in a variety of ways regards, Ford

Anne, I may have to quote you on this bit...; :D thanks so much. I'm pleased the images were of interest to you. If you are more actively involved in making you may find more on our forum. The link's below. regards, Ford

Hello, Ian, You're more than welcome, I'm always happy to help spread a more accurate understanding of this traditions technology. thanks for the compliment too . Yes, we only use fine silver. Stirling silver is also avoided in making iro-e because it turns an unappealing dull, wishy washy grey when the piece is patinated. Also, to anneal the foil, you can mark it with a marker pen, place the foil on a thin plate of steel and heat with a flame from underneath. Once the ink has burnt away the foil will be soft and you'll find that working it into the cut ground a lot easier. regards, Ford

It seems to me that Reinhard has a very valid point about the tsuba possibly being a replacement. As Eric has stated, the theme of the whole of the metalwork is Buddhist. The tsuba on the other hand has no obvious association...unless I'm missing some obscure parable concerning wasps and vines in trees . In addition, it is clearly a far less well carved tsuba than the one from the Klefisch sale. By comparison it does in fact look all the more like a late, not particularly good, copy. It is also far below the general quality of the rest of the mounts. The fuchi and kashira seem like an intriguing pair too me also...a figure of the Buddha on one and on the fuchi a figure entering a possibly sacred cave, amid clouds and raging waterfalls, which has Shinto go-hei hanging over the entrance. The lotus leaf and flowers that make up the rest of the suite are obviously Buddhist. Perhaps depicting the Buddha making his way into a cave to meditate his way to enlightenment. The gohei, although Shinto, are there to denote the specialness of that place. Of course it might be a Japanese incarnation, or a rakkan. I can't make out the menuki, what do they depict, Eric? regards, Ford

Thanks Gents, I'm glad that the images are helpful in explaining at least a little in terms of technique. Hi Piers, yes, they are a type of netsuke.

I not sure this is the right place to post this so if not, Brian, please excuse me and put it where you feel it belongs I've just uploaded a 55 image photo-essay showing the making of a kagamibuta netsuke I made last year. All of the techniques I show, in extreme close up, and possibly for the first time seen in this sort of clarity, are classical Japanese methods as used by tsuba makers of the past. The silver nunome shown is exactly the same as used by the the Jingo and Hizen schools. The raised brass type inlay, taka-zogan, iro-e, is also the same as Shimazu Jingu's work and his school, but these methods are pretty much standards anyway. Incidentally, the actual sentoku metal I used is from the base of a Meiji period vase that had been damaged beyond repair...so that bit is already antique Here's the making of a kagamibuta you can watch a slide show or select individual images to view, in that case you can use to zoom function to get a really close look. The images of the finished piece are particularly large. I hope this sheds a little light on how these things were made. regards, Ford

I believe the one with the mouth open is the female ( seriously ) and the other the male. Following the theory of in/yo ( yin/yang ) it would follow that the male be omote and the female be ura.

I must agree with it being very late but can't see the Mito or Hamano traits John suggests. It might pass as a work of the Yegawa school though, the founder, Toshimasa did actually study in Mito but was more influenced by the Yokoya line. I wonder if this doesn't exhibit some late Umetada, or Otsuki school influence. There is a boldness and sculptural quality here that is also not seen in the Nara school. regards, Ford

I must say that like Loren I'd love to hear a validated story of a real sleeper that was found on ebay. I would have thought that with all the checking that the online sword community does that nothing even vaguely good goes unnoticed. ...as for blades popping out of the woodwork and subsequently getting Jyu etc...any records of the original ebay ads and a subsequent and corresponding NBTHK certificate that anyone has actually seen? I'm really curious about this because it sounds like an urban/internet myth to me. just stirring the pot a little regards, Ford

I think you're wrong there, Brian ...it looks Klingon to me :lol:

I want whatever that vendor is drinking :D

Jean, I think you have put your finger on a very significant point...book learning will never be enough :? ...these things are so easily misrepresented in images, and as Guido has very eloquently explained, we miss so very much by not having the sword in hand to get a genuine response. All the features we use to define our opinions are dependant on the impact they each make...in relation to the whole sword. We can so easily be misled by some things and completely miss other aspects when all we have are flat images and cold text descriptions. I avoid this sort of image kantei,as a rule, myself for the very reasons Guido cited. I made an exception this time because it seemed to be a wasted effort on Gray's part and felt it a little rude not to "have a go". I actually enjoyed myself...and was intrigued at what what we can in fact discern from images...at any rate, bloody good fun :D Thanks to Grey for taking the time to so educate us and for the excellent debriefing. regards, Ford

Hi Jean, I don't see the boshi as hakkikake...rather lots of nie. It is admittedly a subtle one to unravel...I am intrigued

I was thinking; Thinking Yamato, Nanbokucho period, Senjuin...but the absence of a prominent shingi and tha kaeri points me elsewhere.

Hi John, I think you may be on to something here...although the kozuka is way earlier than the time you are referring to.