Ford Hallam

Les Stuart, he lives up in Scotland. Les has spent a couple of study trips in Japan working with a polisher named Saito. You can probably contact him through the Northern Token Society. If you have any problems, pm me. If you need a shirasaya and habaki then Richard Adams is your man. he can be contacted through the Token Society of Great Britain. hope this helps. Ford

Hi Keith, well you've certainly got me thinking. You are right of course, about blades being remounted frequently but the point of the exhibition I mentioned was that these swords were considered to be "straight of the battlefield", so to speak. Many in fact were offerings at shrines. And yes, we can't know if these are work-hardened or not. I'm beginning to wonder though how much work-hardening can actually be induced when fitting a copper habaki. The kind of force that you have described seems to me to be pretty severe, enough to snap a blade at the machi area?, I know that this did happen. Could it be then that in fact the purpose of the habaki, apart from providing a nice fit in the saya, is to act as a sort of crumple zone. That is is designed to absorb those occasional severe impacts, the kind that modern practitioners seem to be subjecting their swords to as a matter of course. Could this also be the reason iron habaki were abandoned?, that the habaki was so stiff that the strain simply passed directly through to the mune-machi. At least with copper it can be absorbed somewhat. We know of the failure of many blades when faced by the Mongol hoards, perhaps part of the development after experience was the adoption of this "shock absorbing| collar, new and improved. :D Do you think we could get "Myth-busters" to examine all the variables for us? thanks, Ford

Hi Brian, just skimming through the thread you highlighted, the thing I picked up on was the dampening effect the habaki apparently has on a blade, and the fact that it is precisely the relative softness (compared to the steel) of the habaki that seemingly provides this effect, this is all really interesting stuff Thanks, Ford

Hi Keith, thanks for that further comment, you've got me thinking on... I've seen the Obata cutting test, he used an American blade I believe. Anyone know? I've also seen the same test performed using a sword made by Yoshindo. I must check that one to see if his blade flexes as you describe. I do remember the Obata sword flexing as you describe. Quite amazing really. I also have the catalogue that the Tokyo National museum published in 1987, when they rounded up all the Kamakura and Muromachi mounted swords they could find. There are just over 100 uchigatana koshirae with blades, all illustrated in forensic detail. I assume these are the weapons that were actually used on the battlefield, this was certainly the premise of the exhibition. Just examining the photos of the habaki I can't find any evidence of distortion. I wonder if this stress might be a new phenomena. Perhaps these practitioners of tameshi-giri are just too big and strong :D ,and are cutting too many hard things. :lol: I could also point out that this modern penchant for cutting things up and maintaining that it is somehow a legitimate samurai practice, may also be open to question. Certainly, the Shinkendo movement, which I think can safely be said to have be been developed from the training instituted by the Imperial Japanese Army in the last war, cannot claim any genuine samurai origins. We all know that swords were routinely tested but I wonder why tameshigiri doesnt form any major part of any of the classical koryu. I've wandered off the specific topic a bit but I think that these musings are legitimate points of discussion. Particularly as this forum concerns swords made and used in the past. I think we should be very cautious before we admit the experiences of modern practitioners, because it seems to me that what is being done today by tameshigiri adherents doesn't really relate to the past at all. I may have to go into hiding for making such heretical statements about the value of tameshigiri, but these are only my opinions, If you don't like them...I have others! cheers, Ford

hi all, I would like to add that I am as yet unconvinced as to how any significant stress is placed on a habaki (or should that be, "an" habaki? :? ) The habaki "floats" on the blade, any impact absorbed by the blade and thus transmitted down into the handle via the tang may stress the wooden core, hence the need for the retaining collar of the Fuchi, but how is the habaki stressed?, to me, it seems to be by-passed. Incidentally, if you consider the function of the fuchi being to reinforce the wooded tsuka, a but like a ferrule on a chisel, I would suggest that the opening in the tenjo gane for the nakago could be made to fit more precisely. This would then help limit the movement of the nakago in the wooden tsuka. It would also explain why so many really good fuchi do in fact have quite thick tenjo gane, but perhaps the original reason for that thickness has been lost in the mists of time. One last observation, the only real damage (if you could call it that) that seems to be common on habaki is that sleight deformation around the bottom edge where it has been repeatedly bumped by loose fitting tsuba. So, to re-iterate, if all the components have been correctly made and assembled, how does a habaki suffer any stress? If anyone could show me a convincing force/vector diagram I'd be happily "converted". any scientists out there? Ford

Milt, think you may be right. the thingy at the end of the saya is the kojiri btw , the kurikata ( lit; chestnut shape ) is the goodie on the side of the saya, through which the sagoe passes. You probably know all that anyway, I'm always mixing up terms, it's all Greek to me :? Ford

Hi all, I've just had a look at the link that was posted to some items offered as being by Natsuo, over on ebay. While the hakogaki on the box looks beautiful and may well be "right" the items themselves are really very poor fakes. I would say not even 100 years old yet, Natsuo was probably one of the greatest artists to have worked in metal and these sorry examples are an insult to the great mans memory. They are Japanese made, but the quality is simply not there. regards, Ford

Well,...I could tell you how it's done, but then you'll all be able to do it. :D The mon are first inlaid as circles of shakudo. The metal is left slightly proud of the ground metal. Funny enough we call the smaller pieces that will be inlaid; "mon-gane". The actual mon design is then engraved on the shakudo disk. The background metal of the mon ( which appear silver in this case ) is carved away, only a very shallow depression is needed to allow the design to stand proud. A fine texture is the usual finish, sometimes nanako, occasionally smooth planished. This background is then silvered ( or gilded ). To finish, the mon is polished using stones and charcoal, this removes any trace of silver from the raised areas of the mon as the depressed area is left untouched. When I get back from Miami, 9th Feb, I'll do a little tutorial to show the process. hope this explains a little. Ford

Hi Milt, Suzuki Chokichi's hawks. Life-size studies in an amazing array of alloy tones and techniques. If that set was on the open market it would easily fetch more than $1000 000. If you'd like me to make a copy for you, pm me I'm sure i could make them for less . cheers, Ford

hello Brian, these are probably as good as Miyao Eisuke gets, there are in fact bronzes out here that are significantly better than these. Miyao was pretty much a factory production set up and their output was extensive. The lower end of the companies work is fairly common, no Meiji collector should be without an example, but as you suggest, the really exceptional stuff is less common and very expensive. My wife has just peeked over my shoulder and read this, she would like you to know that we've probably had a battalion of the little fellas on our kitchen table at one time or another. She's become quite blase about the stuff The really serious stuff is actually less flashy, good brown patinas with perhaps eyes and other very small touches etc. in gold. Stevens taste Ford

I've scanned these images from a book to try and show the difference in quality. Admittedly these are far more colourful but compare the crispness of the detailing. Sorry about the size of the images but I could'nt retain the detail if I reduced them. hope this helps to illustrate the point, Ford

Hi Brian, as Franco has pointed out, strength is not really a consideration here. The preponderance of brass habaki on so called production swords is due to the fact they are frequently cast. It is extremely difficult to cast copper and quite tricky to cast fine silver too. I should also mention that traditional Japanese brass is somewhat softer than standard modern brass. New brass contains about 30% Zinc while older Japanese material contains about 15%, plus a tiny amount of Lead, about half a percent. The older stuff also patinates to a far nicer colour, a lovely ochre colour while modern brass tends to an olive yellow/green. The traditional ( and more skillful and appropriate ) method of forging a piece of suitable ( ie; malleable ) metal to fit a particular sword will always yield the best results. It takes time and skill ; time = money so standard cast items are used. I suspect that Franco may also have a point when he suggests that taste may be a factor as well, polished brass does look a little like gold, to the uninitiated . A bit flashy perhaps but there is no accounting for taste . Of course if you really are concerned about strength then you can always get one made in iron. I've seen Kamakura period habaki like that. :D regards, Ford

I've just had another look at the figures. I'd suggest that the poses and stands are in fact a period attempt to cash in on the deserved reputation of the aforementioned Miyao Co. But, as I have suggested, the quality is really not there when you look closely. Close, but no cigar :lol: cheers, Ford

Hi Steven, John, the last kanji is "saku", without any doubt . Bronzes of this type and period are almost always signed thus. The, somewhat more common sculptures of this type, from this period ( ie; Meiji ), are often by the Miyao Co.. Their superior products fetch serious prices at auction and are all signed "saku". fwiw, I wouldn't rate this as being the best quality, one give-away is the close-up of the cloud type engraving. Just not enough feeling or sensitivity there. Sorry to sound like a snob but I've been spoiled :D . the price suggested however, is probably fair, they are after all, quite large. But...size isn't everything Ford

Hi Curran, sorry about the slow response. Server glitches! I certainly won't claim to be any kind of authority on the Otsuki school but your tsuba is so very simplified that there is not much to hang an attribution on. To be honest it may well be the work of any unaffiliated machi-bori artisan. Personally I'd hesitate to attribute on the basis of similar designs or motifs. I would suggest that it is very late, perhaps even Bakamatsu. Sorry I can't offer any more help. Ford

Hi fellas, some years ago I unearthed a shin-shinto naginata by Koyama Munetsugu. It was covered in a fine web of very light rust, a bit like a spiders web ( a heavy coat of oxidised genolite had preserved it quite well ) but still had areas of the original polish visible. After being polished by Mishina Kenji, and getting Juyo Tokubetsu!, it still has a very healthy ubu ha. In this case a very significant bonus, as it shows that the blade is practically as it was when new. Now if only I could find a nice ko-Bizen tachi! :D, with ubu ha, I don't think anyone would want to polish that off. Ford

Simon, I can perfectly understand the need to ask for a "big beer". in Japanese ( one of the first things I learned too :D ) but why do you need to ask for a medium one? :? kampai, Ford p.s. whereabouts in Tokyo are you staying?

Hi Simon, thanks for the compliment. As you know, Richard is pretty handy himself, particularly his shira-saya, tsuka-maki and habaki. regards, Ford

Hi Stephen, the fittings are all unsigned. The subject matter and general style is quite reminicent of Iwamoto Konkwan. Of course he was much copied and even faked! As for the Rai attribution, well...a big name blade in flashy aikuchi koshirae, I would'nt put my money on it. Ford

Hi John, that's much better. How on earth did we survive without digital cameras? A very accomplished piece. Those tiny accents of gold inlayed on the tail are notable, as are the shakudo touches on the wings. Is that inlay on the eyes as well? Can't say I've come accross this particular Kanenaga before. I assume you identified him by his kao. You'd have thought the Mino smiths were too busy to have any sidelines. regards, Ford

Hi Marius, very nice piece of iron. I particularly like the quality of the iron carving, and it appears to be in pretty good nick. I'd suggest Nara school, quite late. It seems to me to have a little Kanie influence too, not suprising really, as by the time this was made Kanie was revered as one of the great early masters. His work is far more reserved, almost spartan. regards, ford p.s. are these pieces yours? p.m. me if you like.

Thanks Jim, as you know, this type of treatment of the ground, which people like Natsuo and Mitsuo Otsuki did so well, is something I've been exploring for some time. I'm beginning to follow my own inclinations now rather than trying to emulate the past masters. To my mind this is how we keep a tradition alive and most importantly, vital. keep tappin', Ford

Aw! shucks Jim, you're making me blush....and you know how unabashed I am! Thanks for expressing your well meaning indignation too. hey Milt! I was quite comfortable in my closet actually, now I have to deal with people and stuff.... cheers, and here's to an excellent new year to you all.

Pete! I don't know whether to applaud or to groan, very good though. :D cheers, Ford

Hello Martin, you raise some very important questions here. This also gives me a chance to answer Brian's question on the same topic. Firstly, it's important to understand what a patina actually is. On iron and steel this basically comprises iron oxides ( I won't bore anyone with chemical compositions ) , oxidised oils and various other inorganic trace material. There are two iron oxides which we are presented with on a tsuba. A black one that is relatively stable and offers a fairly good protective finish, and a red one, hydrous ferric oxide, the warning sign is the "hydrous" bit, this means there is moisture present. Red oxide is, as most know, still active. This means that there is an ongoing chemical reaction by which iron is being converted into it's oxide. There is an electrochemical breakdown of the iron, it's as though there is a little reverse plating process underway, electro-stripping. Left unchecked the iron will ultimately be entirely consumed. It is possible to pick away the larger flakes of red rust but unless the metal is then dried, and remember metal is quite porous on a microscopic level, and the tiny gaps in the metal plugged with something, moisture will eventually find it's way back in. ( You could of course keep your tsuba in a drying chamber, what called a desiccating chamber. ) This is where oxidised oils help. I won't describe the actual procedure as it really is more of an art than an exact science and frankly, I'd hate to be the cause of a whole generation of collectors oil blackening their tsuba. It's a far more delicate process. The other thing that must be done is to convert the red rust to black rust, again not a task for an amateur. In terms of touching up rubbed patina on the face of a tsuba, we are again faced with a similar problem, we need to create rust, and then stabilise it. It must also be only a surface skin, not a heavy coating of oxide, as this will simply keep eating away at the tsuba. I couldn't really advise on any fail safe procedures that are suitable for general use. As you mention, it is generally advised that we don't touch the inside walls of the cut-outs. This is mainly for the same reason we don't clean the tang on a blade. It reveals a lot about the age of the piece but there is also an aesthetic aspect to saving this sign of age. I will dare to go against convention and suggest that there are times when very careful and sympathetic cleaning is desirable, and in some cases essential. Again, I will emphasise that this is not really a job for an amateur. I'm sorry if this all sounds as though a bit complicated but if you have an important tsuba in your care you have a very complex article to conserve and the basic material is very delicate. Preserving, or retouching the original colour is even more exacting. In many ways this work in no less demanding than restoring old Master paintings. No one today would dream of having a go themselves if they owned a valuable old oil painting. In the past many collectors did though! Thankfully conservators have developed far more reliable and safe processes and much of the damage of the past has been rectified. Sadly though, some artworks have been irretrievably lost to us due to well meaning, but inept attempts at restoration in the past. As a professional restorer I have seen a lot of such poor "restoration". In almost every case the job of correcting the earlier work is now even more complicated. On top of which, there is inevitably so much information that has been lost through inexpert handling. An untouched piece in need of help has so much to tell an experienced eye. This helps to establish what the final appearance should be and it is then also possible to accurately recreate the working processes of the maker. Finally, on a more practical level, handling iron tsuba with bare hands is also a matter of some debate. There are those who maintain that the oils from your hand add to the patina and so tsuba benefit from being caressed. This is a big part of the tactile appeal of these things. There are, however, some people who have what we call in the trade, "acid hands". I had an apprentice a few years ago who literally left rusty fingerprints on tools. Needless to say we decided this wasn't the best career for him. These afflicted :D folks should either wear cotton gloves or be barred from owning tsuba. I didn't mean to ramble on like this, I'd hoped to be able to offer some safe tips but as I started writing and thinking about the problem I realised that much of what I take for granted in my work is in fact highly specialised and almost impossible to convey just in words. What is known as tacit knowledge, or kan, in Japanese. regards, Ford