ROKUJURO

The description is o.k., but the definition is not. I have researched in this matter and it is definitely not steel which is protruding from the surface of the TSUBA. Also, TEKKOTSU can be seen on newly made TSUBA, so the theory of 'wearing material off' in use cannot be substantiated. We have been discussing this subject here in the forums.

I think it is a small TSUBA standing on it's head, and it has been badly treated be someone who had no feeling for and no knowledge about TSUBA. If it had a patina, it's gone, and what remains is a Japanese YAMAGANE (or SUAKA) washer, looking indeed pretty plain...

As far as I know HAGIRE are flaws caused by tension in that area due to mistakes in forging or false handling in the quenching process. Normally the development of martensite in the HA area in the quenching causes pressure because of it's greater volume in comparison to the non-quenched parts of the blade. This leads in most cases to the blade bending backwards to form SORI. If the balance of the mass of the blade in relation to the YAKIBA is not finely tuned to the properties of the steel, the clay cover, the temperatures of the steel and the water, HAGIRE may occur.

I learned that these are the traces of the chisel when forming the NAKAGO ANA. Openings/SUKASHI were very difficult to make at these times, as the artists had no metal saws as we know them today. However, they had a kind of coping saw fitted with a steel wire. A mixture of oil and diamond powder helped to slowly cut into the metal. Finely cut lines as found in ITO SUKASHI TSUBA could be made this way. In many SUKASHI TSUBA traces of files can be found to even out the marks of the chisel. By the way, a very nice TSUBA!

Brian, have a look in the information pages. You will find that most hot stamps are found on mass produced blades. In this case you even have impressions of a vise or a clamp on the NAKAGO which you don't want to see at all. NIHONTO means traditionally forged blades, and this is in my understanding what this forum is mainly devoted to. It is generous and tolerant of Brian (the boss) to offer a war-time forum, but these blades (if machine made and oil quenched) and their mountings are simple militaria and are of no artistic value. I understand you like these blades but there is not much you can learn from it.

So the conditions are similar to those in Japan. I use TSUBAKI oil for these purposes. Unlike TUNG oil it will not polymerize and form a hard protective layer which is desirable if the wood is deteriorating. Good success!

The design you have in mind applies for new CHASEN. Old and used ones stretch their tines a little out and can appear to be almost straight. Regards, Jean

We are in a different situation today. Swords are no longer part of our official outfit, and our lives do no longer depend on the capacities to handle one for defence in real combat which in those times could occur every second. Japanese SAMURAI did not know about the scientifical background of ergonomical design we are used to apply today, but they had the experience to tell exactly how long one's KATANA had to be. So preserving an old TACHI from the ancestors was only one side, the 'every-day-carry' sword had to be fine-tuned to serve the requirement of body measurements and fencing techniques, and this could mean cutting off a piece of the NAKAGO and punching a new MEKUGI-ANA. We may regret to find a SURIAGE blade, but seen from the practical side this is comprehensible. Historical changes in Japan after 1600 may have lead to a more representative way to see swords, so there was a tendency for HORIMONO, perhaps hoping that the blade would not have to be drawn in a duel. Any material loss in a blade can of course be a structural damage with the risk of failure under extreme stress. With today's blades there is no risk of breaking as long as the sword is not excessively used in TAMESHIGIRI.

Is there a possibility to see a test page or two to get an impression of it? I would appreciate that.

It is always a pleasure for me to see the simple yet artful TSUBA of this time and it's style. One can see from the photograph how it was made! I like this one, thanks for sharing!

David, thank you for sharing! Gorgeous TSUBA, and it helps to understand the theme of mine. Yes, I would appreciate to see your other KO-TOSHO TSUBA, if you don't mind.

David, thank you for showing your UMETADA TSUBA for comparison. It is a nice one, and although burnt, it still has everything that makes a good reference TSUBA! As they were very likely not quenched and hardened, might it not be possible to restore it by just carefully removing the scale? Just a curious question. As to my TSUBA, I have thankfully received helpful input to two of them, but the KO-TOSHO seems to remain a riddle not only to me. I am still behind it and looking for information. Could it be that part of the SUKASHI was added at a later date, thus obscuring the symbols meaning? What do yo think?

Gentlemen, all these posts are very helpful for me, thanks a lot! I would never have come close to these explanations, a lot of knowledge besides swords and armour is gathered here in the forums!

Thanks for your help, Brian! This is all new to me - my first steps with pictures, and feeling very lost! Please size everything down as you like!

The third photo did not work, I'll try again.

Good evening, gentlemen! In my small TSUBA collection I have three of them with symbols of unknown meaning. Hopefully the experts here can enlighten me. The first one was bought as OWARI and it shows KIKU elements and some triangle shapes. Could that be MON or is this unusual with OWARI? Another one is a small KO-TOSHO. Meaning of the KO-SUKASHI? The third TSUBA has elements of YAMAKICHI BEI, I think, but the symbols are not clear to me. KUMOGATA (Bridge)? Clouds? YAMAKICHI.doc Any helpful information is welcome and appreciated.

The cartwheel is perhaps quite common as design element in TSUBA.

As I said: it might be an old straw hat.

This is a nice one indeed! I don't own a TSUBA like that, but I have an old straw hat that looks similar.....

Might this fact just have been the reason that the smith did not want his MEI on the blade?

My congratulations and my admiration! You are simply the best! May I ask if the items were masked or did the jury know the respective makers? Many years ago, Gerd Knäpper, a German potter living in Japan, participated in a very famous all-Japan pottery competition. Without knowing the names of the potters, the jury chose his work as the best. This was an uproar in the world of Japanese ceramics - a GAIJIN on first place! I think that you also turned the world of KODOGU upside down!

I have looked it up on E-Bay and read the accompanying text. Even if it was not traditionally made, it might be a real bargain as a tank (although rusted) is included in the price......

I know these cast copies for more than 30 years when they were already on the market (the left one). A closer look shows that the person on the left TSUBA has not only lost her face but also her hand, being very ashamed because of this bad copy. In the original TSUBA face and hand were probably made of soft metal. As you are new in this field, things like these happen. My advice is to look at as many original TSUBA as you can. Buy books with good pictures and study them, and enjoy the workmanship of good original TSUBA.

If you have a close look at the NAKAGO you will see that the KANJI are not etched but chiselled. And yes, famous swordsmiths names were frequently used by others (with or without their permission) for different reasons.

Probably this stamp has nothing to do with the pot itself or it's production. I have seen stamps from the customs when items are cleared for export. You find them also on imported Chinese pots older than 100 years.