ROKUJURO

.....I’ve had them in storage for over 20 years and just now pulling them out.... Hi Greg, if you put them back in storage for anther 500 years, they will possibly gain some value!

Richard, you need to focuse clearly, use a dark background for better contrast, and show the TANTO as cut-out so not much of the background is to be seen. Look at the results yourself. This also saves some data volume. You can try to push the HABAKI back with a piece of wood; don't use a metal tool to prevent damaging it. Do you see HAMON or HADA at all? MUROMACHI is not exciting per se, quality and condition is what counts!

If possible, change the title to "New TSUBA by Funada Ikkin"

Richard, welcome to the NMB forum! On the NAKAGO, KANE is quite clear, 義 (Yoshi) is a possibility but the photo is not clear enough. Also, there seems so be slag on the NAKAGO which could be an indication of it having been in a fire. When you make new photos, please take the HABAKI (not Hibaki) off and use a dark, non-reflecting background for better contrast.

Gerry, the confirmation certificate you need for the possession and trade of ivory is not from City, Citizen, or Cities - it is CITES (Convention on International Trade in Endangered Species of Wild Fauna and Flora). And MEIJI era is not "very old" or "old" in the context of Japanese history, culture and arts, it is recent. You may get information and help from Deutsches Elfenbeinmuseum (https://www.erbach.de/tourismus-freizeit/ausflugsziele/deutsches-elfenbeinmuseum/ )

Melting temperature of iron is 1.538°C, cast iron can be melted as low as 1.150°C.

Tori, that is a very nice TSUBA, and even if not authentic by SHOZUI, it still is a valuable item on the market. Authenticated examples are very expensive! It is absolutely not sure that your grandfather knew about it being possibly not genuine! Would you mind showing us both TSUBA? (no plural "s" added!)

The photo with the signature is upside-down.

In my opinion, this is not an authentic TSUBA but an amateur imitation. The surface seems to show scale, and the punch marks make no sense. The KUKURIZARU are depicted in an unusual way.

Thank you Lewis! still a small kidney for me at the moment!

I could not find a price for it. Hopefully it is not a kidney?

Did I show my MEKUGI-NUKI in TSUBA shape? Forged from old (= 1880) wrought iron.

Although I would need to see the complete NAKAGO, I suspect that this is indeed what came out after an ORIKAESHI technique (折返し). To me, it looks as if a large part of the NAKAGO has been folded back and fire-welded. The YASURI-ME seems rather fresh to me and not KOTO-like. A FUKURE looks differently in my experience (I have produced some unwillingly...) .

Vincent, all photos are upside-down. The NAKAGO photos should always be made without HABAKI so we could see the MACHI. Always use a dark background. All photos need to be nicely focused; the blade picture does not allow to see the surface properly. My first impression is it's not Japanese, but better photos might prove me wrong.

That is roughly the way SASANO-SENSEI used to treat his TSUBA.

Robert, if we do not live this life in a way that fits us, in which life could we do it? I understand what you are saying, but it is probably not for everyone. You need to have a certain sense or sensibility for that. To me, it happens from time to time that I see a place in the forest or a hand-made item with age and use. It is as if there was something like a connection, but nothing you could really grasp. Perhaps it is only a form of mental condition?

I agree Robert. Better quality KIRIBAKO are designed that way.

Robert, what you describe is not the fault of the KIRIBAKO, it is the humidity around.

Easy to spot as fake. - There is no HADA, that is a form of Damascus steel - tha characters are chiseled upside-down in the blade

.....That is my kind of tsuba, old and rusted!.... Maybe you really don't understand? Rust is the enemy of iron. It is not a decorative feature on TSUBA, it even does not necessarily have to do with age. It is not a layer on top of the surface, it is the material itself, turned into oxide. Rust is eating up a TSUBA and should be removed or at least reduced/inactivated. If one can understand this process and has a minimal feeling of respect and responsibility towards an antique, handmade object of art/craft, they would want to preserve it in an appropriate way. This is not done fast with chemicals, it is a labour of love and care - and time. It also requires a basic knowledge of how an iron TSUBA is made, and how they are traditionally preserved and stored. Being a caretaker of an antique object has nothing to do with personal taste, it is first and foremost an obligation to learn, the more if the object is belonging to another culture with possibly different value perception and appreciation. In case you care to read about the WABI-SABI concept, you will find that Japanese appreciate objects (often of simple character like traditional household items) that show respectful, long-term use. Not neglected, not just "old". There is a form of love behind that, of deep understanding and respect. And also - perhaps - a feeling of thankfulness towards the ancestors who preserved the item so carefully. Did you know that in SHINTOISM, it is believed that handmade objects ( as well as old solitary trees, rocks, waterfalls a.s.o.) used by many hands (e.g. a good DEBA knife for the kitchen) over many years, can carry a KAMI, a good spririt who is nourished by the good intentions, respect and care of the people. When, after generations, the knife-blade is used up so that it cannot be sharpened any more, they carry the knife to a priest in the SHINTO shrine and have him release the KAMI from the knife in a ceremony. Only then the remains of the knife can be recycled. I am sorry for going off the path, but I wanted to underline that we have to accept that in another culture things may be seen differently in comparison with what we are used to. We are requested to learn and respect that. We do not need to become Japanese citizens to be good TSUBA collectors, just showing a minimal respect and awareness for what we hold in our hands.

John, the only one close might be TSUNE ( 常 ) on the TSUBA. The experts here will help!

In the first place, preservation has nothing to do with the value of an object. Any antique iron TSUBA will turn into oxide earlier or later, but with a proper protection treatment (which can mean rust-removal and new patination) and good care (e.g. not hanging it on a nail wall...), it can survive more centuries. But that has to do with some understanding of the processes and the necessary responsibility.

John, that is absolutely true. And if we talk about gold content and today's price of it, we should also look at the making of TSUBA. Assuming you could find TSUBASHI capable of producing TSUBA in the work-quality range of your above pictured nice TSUBA, what would they charge you? In this context, gold remains a small factor, I think.

Merci Bruno!

Lou, welcome to the club!