ROKUJURO

Compared to what?

Big fire in the house? Everything stolen or destroyed in an earthquake? I'm good at finding excuses.... On the other hand, it is perhaps an honour to be asked or invited.

From my own collection:

This was probably made in Japan after the war for sale to tourists (or GIs). Often wrongly called KAMIKAZE TANTO, but had nothing to do with WWII. It is a souvenir, unfortunately not more.

So he used his family name YATA as well in the MEI:

Yes, that was the initial question. If I had to do it, I wood use KIRI (PAULOWNIA) wood. It is easy to work on with sharp tools, lightweight, and does not shrink or expand with moisture.

The iron of this TSUBA has some ductility as we can see from the TAGANE ATO in the NAKAGO ANA, so it is not cast. The cross-hatching to fix the gold NUNOME was definitely made by hand, so, as stated above, it is not a beauty, but I think authentic. Stylistically, it has HIZEN traits for me.

John, are you sure that rays are depicted on your JINGASA? I believe it could also be symbolized KEN blades. SUHAMA MON on TSUBA:

It look me a moment to guess what you may have meant. BOSHI would have been closer, but probably you meant KISSAKI?

Perhaps TOSHIHIDE?

A 15th century sword blade with a KASANE of 9 mm might be a very rare thing.

Just think about when these "flashy" TSUBA appeared fitst in the market. If they had been made in MEIJI era, they would have appeeared in numbers long before. But exactly this type of TSUBA with very good casting and guilding technique surfaced rather recently in my observation. We have been discussing the fact that modern reproduction/copying techniques have become worringly good, and the fact that we are now troubled by such an item is the proof.

So what do you think?

Looking at the SEPPA-DAI without any traces of use, the over-abundant use of gold colour, and a few technical flaws, I am not so sure that this TSUBA is Japanese. NAGOYA MONO have some age, and most of them have been used for a while, and this left some traces. Also, NAGOYA MONO were finished by hand (not by high-class artisans!), and they often were a bit crude in the smaller details (faces...). The gilding technique of that time was different. On his type of modern TSUBA I do not see traces of hand-tools (TAGANE), and seemingly this one was never mounted. I may of course be wrong in my observation. Dale will probably be able to provide a number of images of similar TSUBA.

Much better Rodriguez, but with a DARK, NON-REFLECTING BACKGROUND and photos NOT taken at an angle, there will be some improvement. Cutting-off a part of the NAKAGO would be called SURIAGE in Japanese, in case a part of the MEI is remaining. In any case, Jusii has read the signature correctly, so now you can research the smith. And of course, we are curious to see the full blade!

Ray, if you don't mind, what kind of ORIGAMI is this, and if it was issued in 1972, how reliable is the statement?

If the nice fairy tale was true, I wonder why no one of these highly decorated BUDO masters was able to care properly for this sword, so that it ended in such a deplorable state!

That looks like very good craftsmanship! I like and admire it! But let me ask: A new SAYA for an unpolished blade?

I understand the problem and will apply for gold. But as mentioned above, what to do with these:

Mauro, thank you so much for your excellent work! Valuable research material!

Famous name, no papers, IAITO TSUBA - what do you think?

Date looks like MANJI SAN NEN ROKU GATSU ROKU HI In my opinion, translation requests without the slightest politeness formula like: Can anyone here please help me with the translation? should be charged with $ 50.--

Looks as if they wanted to "mark" a HAMON with a groove. Made by someone who has never seen an authentic sword in his life!

Jan, the second photo is out of focus and thus useless.

NEVER touch a blade with your bare fingers! It looks like a variant of a (damaged?) SANKAKU YARI.