ROKUJURO

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!

.....some slight corrosion on the Munemachi and some spots on the cutting edge which can be removed with carefully applied Uchiko.... Subegh, did you remove the corrosion with UCHIKO in the meantime?

Jake, usually, URUSHI is liquid; it is natural lacquer.

Hi Forrest, swords like these often do not have a MEKUGI as the tang is glued in to conceal the NAKAGO. I am afraid it is just an imitation.

Hi Aleki, welcome to the NMB forum! Looks like a Japanese sword with an interesting TSUBA. Please show the NAKAGO without HABAKI, blade-tip upwards. All photos taken on a dark, non-reflecting background, in a dark room with light from the side.

Boyce, you mentioned "forge cracks". Usually, cracks do not occur as a result of forging but of hardening (= HAGIRE). They are considered "fatal" for the value and the function of a sword.

PO-I, please sign all posts at least with your first name so we could address you politely. It is a rule here on NMB. . As there were more than 30 SUKESADA swordsmiths over a long period of time, the possibility of the blade having a fake MEI (= GI MEI, not gemei) is high. You will have to study authenticated examples and compare with yours as your photos will not allow to make a reliable statement. It is not sufficient to compare the signatures; the work of the related smith has to match in the first place. This also means that the blade has to be in good condition (= polish) to see all HATARAKI. The photo quality could be improved with a dark, non-reflecting background, taken in a dark room, with light from the side. The SUGATA of your sword (if not SAIHA) could speak for an older blade or one made in that style.

Marcin, that should not be a problem unless you were shorter than 220 cm!

Marcin, I know, but in case you want someone to read it, it is more polite to orient it correctly

There were two (or more likely three) TEIMEI generations. The posted TSUBA is not in the TEIMEI/SADANAGA style, and the workmanship (not really visible in these photos) does not seem to match.

Marcin, in the image, the right side of the book is oriented upside-doen.

Jake, I certainly do not know all tricks the TOSOGU-SHI knew at that time, but I am fairly certain that we can exclude injection needles and syringes for the EDO era. However they succeeded to make an eye, looking very much life-like, we certainly have to admire the whole work, metal including.

Hi Max, I will note you as the first participant in case you would be so kind as to fill in and send the application form to: forge.collin@gmail.com In case there were more than three members wanting to participate, there will be a second workshop. TSUBA-Seminar-Anmeldung 2026 PDF.pdf TSUBA-Schmiede-Seminare 2026 Inhalte.pdf

Jake, glad we could get cleared some points! But: .....Bakumatsu artists included a thin gold foil underneath to give the eye a more realistic look and this can degrade under the glass leading to a more cloudy appearance over time. This is what I was referring to when I mentioned the aging process..... The thin gold foil provides indeed a more realistic look of a glass eye as the gold reflects light like a natural iris. BUT gold never degrades or ages or 'dissolves' in glass, so even after 1.000 years, it will still look the same. By the way, this technique is still used nowadays. And to mention it again: the artificial eye will be set in 'cold' and completely finished, probably fixed with some kind of glue (URUSHI or pitch).

And do not forget the BEHRENS collection, auctioned off in Paris (I think 1912) with a four volume catalogue by H. Joly.

Michel, one of our experts will tell you more about it, but generally said: It is easier to fake a signature than a blade, so in comparing your sword with a certified example, you have to look at the work itself. All features of a blade have to be considered, and the MEI (signature) is the last factor of evidence. A "good" faker would perhaps have had an original at hand to copy, but many just had an OSHIGATA (if at all) as template.

Exactly! You need a number of especially formed stones which are not usable on other blades. It is just more hassle than blades. But on the other hand, your YARI does not need a full polish, so if you could get into contact with a reliable TOGISHI in the U.S., it should be feasible.

Thank you Piers, for your help! His name does not appear on my screen, I only see W.H. Might be a technical issue on my side? Polishing YARI seems indeed to be more difficult than sword blades. Usually, their steel is very hard and the surface to be treated is often relatively small, so TO-ISHI are easily damaged (= becoming hollowed-out).

It's probably my old eyes. I don't see a name. You can add it to your profile, so it appears with every post. Does not hurt. As for the rust removal, you would only need one TOGISHI.

Hmmmm....