ROKUJURO

Ford, I wonder how they could have made a TAKABORI decoration on an 'AMIDA ray' (is there a correct term for it?) underground unless they used iron ZOGAN technique on iron. What do you think?

Sorry, P.A., I was wrong! Now that you mention it again, I can see the AMIDA YASURI ME in some spots! The photos are really not great, or is it my 'shakey' eyes?

That would make it a really precious thing, and you should sell it immediately and buy loads of nice TSUBA instead! The bad pictures do not show much, but it seems to be a WAKIZASHI size, EDO period iron TSUBA with TAKABORI execution, but what you see as AMIDA-YASURI-ME (which is applied radially) is in fact the depiction of rain (SHOKI, the demon queller, with a damaged umbrella on the front and an ONI looking for shelter on the backside of the TSUBA). Others may tell you more. Please sign all posts at least with a first name.

I cannot open or upload them either. I only get Japan Science and Technology Aggregator, Electronic An error occurred. We are sorry for the inconvenience. Please view from the J-STAGE top screen

Thank you for posting this interesting link!

Ken, before using the chalk, I would use a brass wire brush and get rid of the red rust, especially in the grooves of the MEI. I hope you get a good contrast then so that it becomes readable. Interesting item, by the way!

As Chris said, you would have to grind even the cross section cut and then polish it without inducing too much heat. In Japan they would bring out different steels or hardnesses that way, but a composite construction can also be made visible by etching the cut with ferric chloride.

You may have snow in Berlin, but hopefully no TSUNAMI.....

Gentlemen, just for a decorative high-light I would like to show again a set of MENUKI which I had put on display a while ago and which has been classified by many here as 'EZO style'. As I have learned later, they are very likely from the late MOMOYAMA period or from early EDO, as they are signed NARA. To contribute to this discussion I ask if it would be correct to say that EZO was a style or design elements historically based in earlier periods like KAMAKURA, but obviously used by later artists as well?

BaZZa, an interesting TSUBA with some unusual (NAMBAN-ish?) elements! It looks somewhat older than the other ones which may have to do with corrosion. I have the impression that a different technique to fix the SHINCHU than that described by Ford has been used. Could that be?

Henry, as she is now or as she was half a lifespan ago?

David, as usual, I don't get along with your website! The only TSUBA in the for sale-section I can find is the TETSUGENDO (sold). Is it me or the software of the site?

Andrey, I am sorry, yes, the first position was correct and I was wrong! Thought to be sure, but KAISHO script seems to be too difficult for me!

Gabriel, the MEKUGI-ANA look like they were drilled, not punched.

Ah, yes, I remember! David/SOSHIN was looking for one: ....... I need to purchase a new Batto training sword in the near future.....Jan. 04./TSUBA on E-Bay

If I remember correctly, we have discussed this before. It is a gardening tool, a HANAGATANA.

.....Where do you look for signs of lamination?...... Sean, is there any form of HADA to be seen? That would be a good hint for a traditionally made blade! Take care of the surface of your blade, there seem to be many fingerprints which will turn into rust quite soon!

......Not sure that this time it's not upside-down again..... Andrey, I am afraid it is!

Thank you, Chris! That is the difference between practice and theory.....

Gentlemen, I am not sure this is the right department to write in, but I found no better. Very recently, I bought a book from Grey Doffin. Although well packed, the parcel and book arrived in damaged condition. I informed Grey and added some photos of the damage. He immediately refunded me the complete sum, postage included, without even awaiting a confirmation of the assurance of the transport firm USPS. As a plus, I could keep the book, which is still readable. I think this is an extremely fair and generous service - you cannot expect to be treated in a nicer way! I feel this is worth to be mentioned here! Thumbs up-smilie and !

Gentlemen, reading through the many opinions on this subject, I would like to add my view as well. As far as I know, removing a MEI the Japanese way does not necessarily mean to remove material. In the first step, it is not done with a file, but very carefully with a blunt chisel, hammering down the 'cushions' on the edges of every single chisel cut. This works of course best with rather fresh signatures and might be more difficult with older blades. If the MEI strokes were not too deep and wide, a signature could be removed almost without visible traces by this method. Some patination would enhance the result. That is what I have been told. On the photos of the blade in question it is very difficult to see. I think you have to play around with light from the side to make any small irregularity visible. If a MEI removal is suspected to have taken place, I would also use a microscope to examine the surface and not only search for a concavity.

USkragnut, to address you politely, please sign your posts at least with a first name. You found a nice blade as far as one can see. The signature is perhaps MINAMOTO YOSHISUKE, but I have no information about the smith, sorry.

David, nice TSUBA which seems to have some age! I can see the irregularities in the surface, and I think they were probably caused by etching or corrosion (which is basically the same). Where do you see hammer marks and what type of hammer could have caused them?

I think it is a new Chinese metal decoration disc, perhaps not cast but from a press, and not a repro as there are probably no Japanese originals looking similar.

Jesper, these MENUKI very probably depict rats. Others will add their opinion on school or maker.