ROKUJURO

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....

In Japanese (translated) descriptions, I have never read these terms, so I don't think there is a problem (until we create one).

Jonathan, HATARAKIMONO (features) in traditionally made Japanese blades should be visible without magnification. As the name says, KINSUJI should be streaks of NIE, appearing golden. But I have to admit that many of these features are difficult to capture in photos. I don't know black NIE.

Bonjour Michel, NAKAGO (= tang/la soie) photos should be oriented straight vertically (blade-tip upwards), so a signature can be read. NAKAGO, SHIRA-SAYA, and MEKUGI-ANA are not handguards; you got something mixed up. A TSUBA is a handguard.

W.H., please sign all posts at least with your first name so we could address you politely. It is a rule here on NMB. I suggest you have the spider rust removed as soon as possible before it creates more damage.

Well, they have seen the blade in-hand, which is much better than photos. Do you see HADA? Do you see KINSUJI? If yes, I am wrong and it is not machine-made.

Jonathan, There is still another thought: The seller could not advertise the sword as wartime blade as these a not allowed in Japan. So perhaps he chose a more "creative" description.

Thank you Steve, for your efforts! This narrow knife has seen some use and years, so you never know if the maker is still listed somewhere. Might well be one of the hundreds of little forges all over Japan.

Thank you Steve! Very helpful! The second KANJI was probably chiseled while running.....

Jonathan, a BOSHI is never burnished, and yours looks o.k. The blade is generally in fine condition. The HAMON looks like an oil quenched one, so if I am correct, it is a machine-made WW II military blade.

Faustus, I am willing to hold another TSUBA forging seminar this summer in case there was interest. My proposal for a weekend-workshop would be JULY 11th and 12th, 2026. Three (3) participants max per workshop. I will notify those directly who showed interest in that event before. I can help with finding acommodation nearby. TSUBA forging workshop 2026 GB.pdf

P.S. The long text on the blade is probably only advertising....

Hi Bruno, interesting KIRI HA ZUKURI blade, signed AMAHIDE. You have already been interested in AMAHIDE in 2012, but this blade looks older than WW II to me. As you may know, date and smith's name are chiseled and read vertically, so it is a great help to orient especially the NAKAGO images accordingly. The NENKI is not quite clear to me. It looks a bit like ANSEI 7 but that would not make much sense, so I don't know.