ROKUJURO

SHUZAN (秀山) is a name associated with Japanese bronze figures, OKIMONO, and NETSUKE often dating from the late MEIJI period (1868–1912) into the early 20th century

Not Japanese and not older than 30 years in my opinion. Better photos on a plain dark background may prove me wrong.

Does not look like KAMAKURA (or HEIAN, for that matter) at all to me. It is either a blade for a SHIKOMIZUE (仕込み杖), or (very likely) a MAGURO HOCHO (= long Tuna knife).

According to Ford Hallam, the finer AMIDA YASURI was not chiseled, but scraped with a sharp tool. Another YAMAKICHI BEI: A following YAKITE KUSARASHI treatment is very likely.

In swords, this shape is often referred to as KOGARASU-MARU, after a famous historical sword. This shape is indeed complex and considerably more work than 'simple' HIRA-ZUKURI blades, but nothing extreme. YAKI-IRE will be less critical as you have a YAKIBA on the back as well. This will distribute the quenching/hardening stress more evenly. This type of 'memorial' TANTO was seen especially after the war. As Brian stated above, these were often not traditionally made, and the sloppy NAKAGO makes identification easy.

Yes, it is a simple form of AMIDA YASURI, but not ISHI ME (stone surface).

Thank you Piers! My vote is for KASHIWA as it also has some traditional meaning behind it. I really like it as a motif on TSUBA.

Mechanical removal is possible, but it will probably not create a "natural" looking surface. Scraping and grinding would work best on a completely level surface. 'Burnishing' (= MIGAKI JI) is a technique which does not remove material. It only creates a glossy surface. URUSHI will stick firmly to a clean metallic object and is quite difficult to get rid of with mechanical methods as it creeps into the smallest gaps and fissures. Please find below a test-piece with (artificial) corrosion on one side and URUSHI on the other. Without heat, it is not possible to remove the lacquer completely as it remains in the fine structures of the surface. However, I scraped and ground most of it away, leaving an almost glossy surface.

Kin, this would have been a topic for the TOSOGU section. In my opinion. it is a tourist souvenir. I hope you did not pay much.

Florian, as far as I know, the above described technique has nothing to do with YAKITE KUSARASHI (or KUSARAKASHI) but it is the way to create TSUBA with a shallow design as in KAMAKURA BORI or HOAN style. Removing URUSHI after the etching is no problem as it is an organic substance. Not much heat is necessary to get rid of it. I once discussed YAKITE SHITATE and YAKITE KUSARASHI with Ford, and we shared the opinion that all information available on these techniques lacked metallurgical knowledge and were written/posted as assumptions only. But it is safe to say that YAKITE KUSARASHI is a chemical treatment of iron TSUBA using heat and acidic substances at the same time to speed up artificial corrosion on the surface. Depending on the nature of the used iron, different surface structures can be achieved. It is important to note that these processes do not necessarily need pure or concentrated acids as we know them in the West. If time was not important, natural sources of acids work as well. We know this from other cultures where etching has been a standard technique on weapons for hundreds of years.

Yves, to me this looks like an EDO era KACHUSHI style revival piece with a nice DOTE MIMI.

Hi Lex, looking at the KANTEISHO, I think I can read NAGASA: 2 SHAKU 0.9 SUN which would roughly match 63,4 cm

Nazar, for photos with good contrast, the darker the better!

I thought it was signed NAGAYOSHI? Not Nagaesi which is not Japanese.

Jeff, imagining the smith tried to make a "RAI KUNIMITSU" sword, what era and school characteristics would you expect? It might be very difficult to get clear evidence for a certain "faker"..

Ed, that is probably a question for the military members, not so much for the translation section. Generally, a dark background is providing a better contrast.

George, perhaps the first thing to learn is what we would call a "matching" KOSHIRAE might not be the same in a Japanese view. In fact, there are (often valuable) KOSHIRAE with TOSOGU en suite coming out of the hands of a renowned craftsman, but this is far from being common with all SAMURAI. As I have read, with "average" class SAMURAI, KOSHIRAE were put together following individual taste and available money, and easy-to-change parts like TSUBA, TSUKA, or SAYA were probably exchanged a few times in the life of a good sword. So, not even looking at the historical changes in general styles and use of a sword, there were many factors in the choice and combination of sword parts that we are not always aware of. In many cases, we have to learn about Japanese taste, about their mythology, religion, nature, tales and legends, folklore and customs, a.s.o. Just to give an example: in the West, we would consider martial symbols fitting a weapon, but in Japan, you may find a FUCHI with playing puppies, or a (matching !) FUCHI-GASHIRA set with a peaceful farm scene with hens, chicks, and a cock. So, studying and understanding Japanese beliefs, feelings, and taste in the historical and cultural context will certainly help. Reading books by Lafcadio Hearn might also help. I don't think there is a fast and easy way.

Short reply: Know what you are going to buy, and buy from trusted dealetrs.....

Hi George, looking at the motif, size and pins, it may be a KANAMONO for a tobacco or money pouch.

Luba, get into contact with our boss, Brian. He will tell what you could find and see in S.A.

Jaco, if ever you should happen to pick up something Japanese, please refrain from cleaning, grinding, or polishing! The patina is often a hint to age and value, so NEVER touch it!

Ed, the white background, photos taken at an angle or out of focus are not helpful.

Dale, the NAKAGO ANA of the decoration TSUBA does not look Japanese to me. Where does that come from?

MASAKUNI, TACHI MEI. I cannot read the fourth character of the date, but if you would use a dark/black, non-reflecting background, a dark room, and light from the side for all photos, all should be readable. No chalk on the NAKAGO!

John, if I remember correctly, John Wayne always had two.