ROKUJURO

Experimenting with the quenching/hardening process has limits. Steel made from TAMAHANE is quite pure in regards to alloying elements, containing only carbon as desired component. These steels need a rapid cooling to achieve a satisfying hardness. This is why traditional YAKI IRE (quenching) has to be done with (warm) water. Caused by the blast-furnace method at much higher temperatures, modern industrial steel inevitably contains elements like manganese and silica plus smaller amounts of chrome, nickel, and manyothers. This leads to a different "behaviour" of the steel in the quenching process as the temperature drop in the steel is increased, there are more carbides built up, and the hardening also goes deeper into the steel (pure carbon steels have an in-hardening depth of about 4 mm from each side). These processes are described simplified here; in reality, there is much more to say about it. Experimenting in this field is difficult because modern steel will suffer from a drastically increased risk of damage when quenched in water. On the other hand, traditionally made carbon steel will not harden properly when quenched in oil. Interestingly, warm oil will yield a FASTER cooling rate in quenching than cold oil. This effect can be explained by the lower viscosity of warm oil, compared with cold oil.

Thank you Alex! The motif is FUNA KADASHI - a boat rudder.

A cosmetic 'shop'?

Alex, I absolutely share your opinion. I am an 'iron guy', but to my surprise, in some cases, a little gold does not hurt. The below shown typical TEIMEI TSUBA (one of the "underrated" styles/schools) has a fine gold decoration which is rarely seen on these. How do you find that?

That would not be usual Japanese practice.

Perhaps a plate for the Wagashi (和菓子)?

Of course the TSUNAGI (= wooden blade) is not made of bamboo.

....or a TANUKI taking the shape of a water kettle ( https://en.wikipedia.org/wiki/Bunbuku_Chagama ) To explain a bit: When Japanese use the term CHAGAMA (= Tea kettle), they all know you cannot make tea in it as it is made of iron. It is just used for heating up water. Translators often do not know this and translate as tea-kettle.

Augie, there are different ways. In case you were really interested in the subject of Japanese swords, you would buy books and read and learn. Another way would be to see swords in exhibitions, sword shows, and collections, and compare. Looking at swords online is often helpful as you have possibilities of enlarging an image and see details. But maybe the easiest way is to go to one of the meetings of a sword club, and as you are luckily in California, there are good possibilities ( https://www.ncjsc.org/ or san-francsisco-Japanese-sword-society ). These experts will certainly help you. Please read here on NMB on handling and maintenance of Japanese swords, so no damage occurs to your - possibly - valuable item! You cannot certify your sword; this is done in Japan.

Augie, the signature reads KUNIYASU, not kaniyasu. To identify a swordsmith, you have to compare the work (in the blade) with certified examples. You need to see the blade (in good traditional polish) in-hand for that. The signature is the final factor of evidence in this comparison.

There are now two places available for this workshop. In case someone wants to take part, I can help finding accommodation. However, in the tourist season there are not many guest rooms available in my little village, so it is advisable to make an early decision. See you! TSUBA forging workshop 2026 GB.pdf

Paul, I do not believe in the measurements given. The length of the sword without SAYA will be less that 100 cm, not 135 cm. Overall length in scabbard should be something like 105 cm, if I calculated correctly. A military sword of 175 cm length would be rare and larger than most Japanese even today!

URUSHI/lacquer cannot be removed chemically, so it remains very difficult. Heating a TSUBA up to 800°C would probably help! As we know from archaeological finds in China, a thick layer of URUSHI is a safe means to keep corrosion away, but ONLY if there are no cracks where moisture could creep in.

Brian, as the Japanese immigrants mainly came from rural Japan to address Brazil's labour shortage following the abolition of slavery in the early 20th century, I cannot imagine 1) those poor people to have swords, and 2) if they even had a sword in Japan, they would go to the trouble and risk to take them to Brazil. Of course we cannot exclude that 100 %, but I think it is much more likely that the amateur ITO MAKI was made in the U.S. where there was an abundance of swords, and Tegus also live in Florida and Georgia. Just my opinion....

Tim, the skin on the longer TSUKA might also be iguana. It is a possibility. It is quite unlikely that a Japanese immigrant brought a sword to his new location in South America.

....and generously, they will assist Colin further, who will probably be very happy about it.

Eric, this sounds as if you are not working on it which is good news. Would you mind to disclose who does the polish?

Hamish, you may well be right! Some KO-KINKO are a bit plain and, inspite of their soft material, quite functional which certainly has to do with the times they were created in. But they are recognized and valued. AKAO TSUBA can sometimes be simple in their design, but very elegant and artistically refined in my humble opinion.

Alex, I absolutely share your opinion. Coming back to the title of this thread, I am often more impressed by the inherent craft in a TSUBA than by its artistry. I can admire the work in a gorgeous and opulent 19th century KINKO TSUBA, but for owning one, I would choose a genuine KACHUSHI TSUBA with a well-made DOTE MIMI. But they are no longer underrated and now sold for big money!

Dustin, you posted in the AMAHIDE thread. Please open up a new topic in the MILITARY SECTION for your sword. The photo is upside-down, and there is no KIKUSUI (= Chrysanthemum on water) but a SAKURA no HANA (= cherry blossom). All NAKAGO photos without HABAKI please !

Chris, it is not my taste, but it is very well made !

Justyn, only in case they would care to do a tiny bit of research on their items.....(if one has no knowledge at all on the subject).

I knew it..... That one is even a nicer one than the Bonham's!

Probably H 06031.0 ?

I am sure Dale could find another "pair" (or a dozen) made in the same press mold!