Ted Tenold

This is amounts to a somewhat contextual debate and there are good points by all. Ford makes some good observations based on composition and craftsmanship, Guido on broader academics and definitions (or the looseness thereof), and Boris on a individual collector's approach to judgement. I'd offer the following; Traditional steel production methods in Japan were dependant on smelting technology involving charcoal as fuel. The impartation of carbon into the material was going to be evident throughout the kera (block of material, or "bloom") in greater or lesser degrees depending on any given region of the finished kera that would be examined. Therefore, in *general* the entire kera would *technically* be one big block of steel. However there are illustrations in Tawara Kuniichi's book, Nihonto no Kagakuteki Kenkyu (Scientific Research of the Japanese Sword), showing cross sections of tamahagane, and the test results revealing the carbon content from pin-point areas. The results show that there are indeed small areas of 0% carbon, but they are very few. Other areas show very high concentrations that exceed 1%. Again, these are the exception rather than the norm. Therefore in any given piece, one could argue that it is indeed steel (though lacking uniform homogeneity) by default of carbon in any range of concentration. When a kera is produced, there is only a small percentage of it that is suitable for sword production. This smaller amount of prime, higher grade material is more expensive and highly sought from each kera produced. Lesser grade material composes a larger percentage of the overall kera and though suitable for sword production, it will require more working and perhaps blending with other more suitable material to stretch the yeild. Then there remains a great portion of the kera that is not really suitable for sword production without great (and thus cost prohibitive) efforts to develop it further into acceptable material. These varied "grades" are evident in the production seen today in the Shimane based tatara (smelter). So, given this and speculating from an approach of ancient prudence my theory is this; the remaining material, though unsuitable for swords, may have been perfectly suitable for other items such as, tea kettles, gate hinges, tansu brackets, handles, and yes, Tsuba and kodogu. Certainly there are parts of the kera that are not only too low in carbon for appropriate sword material, but also, as Dr. Tawara shows, also too *high*. Steel production and anything made from it becomes, in the end, an equation of labor and how to maximize it. Those prudently operating a smelter would certainly look to maximize the usage from each kera as well. Looking at different tsuba producing schools/regions we see carbon inclusions of varied degrees manifested in both large and small "bones" in the surfaces, and the methods of how the maker worked the material to make it suitable for purpose. Linear tekkotsu that are finer, or bolder, and nodular tekkotsu that are fine to those that are huge. Some were folded several times, others only a few, therefore distributing the material of varied carbon content differently. The combinations of material origin, composition, carbon content, preperation, and treatment are obviously very exponential. The region of steel production in conjunction with the regional styles, flavors, judgement for material selection and working methods for that particular material all gave birth to the end results we study today, and indeed help us define their origins and quality. Let's also look at the so called "Tosho" tsuba. It's speculated that these were originally were made by the swordsmith for the sword when produced. Would the smith use the most precious of sword making material for the production of a tsuba rather than another sword? Or, would it be more prudent to use material that was culled during the sword making process for the production of something ammenable to a different task (with ammenable working properties), while utilizing what was still a very valuable and expensive resource? I'd say the latter, which in my opinion explains a great deal about the finer textures, the softer look, colors, etc. of those tsubas. Katchushi tsubas also may also have been material that was culled away during production of armor, using techniques and methods of the armor maker. As the tsuba craft came to be a specialized and seperate trade, we see yet more differences in technical and material application, and let's face it, a poor quality tsuba begins with a poor quality plate. So what are we really getting at here? Well, I'd offer that the differences between "Iron" and "Steel" in Japan are a combination of material chosen for specific task (i.e. intent), and the amount of refinement applied to that material to make a suitable raw material for the end product. I've never heard anyone speak of a "Steel Tea Kettle" or a "Steel Hinge". Yet, the material likely has some trace carbon and therefore at some level is steel, and alternatively I've never heard of an "Iron Katana". So calling an iron tsuba a “steel†tsuba seems out of context if for no other reason than by traditional intent. I would however call a tsuba a "Steel" tsuba if it were produced from a plate that was intended as applicable base material for any wide range of tasks, rather than a material selected (or culled) from another process and directed to a product where the material was catagorically suitable. Therefore, the context is different, and indeed the oblique definition of iron vs. steel by Japanese nomanclature, shows even more contextual emphasis to the end product rather than a laboratory accuracy of compositions. Just my thoughts toward a casual conversation. Opinion worth what is charged.

Milt: Defining "lost in translation", one thread at a time. Jean-Luc, just my own advice as you are new person to this, don't attempt to restore or repair anything until you gain some more experience. When you are unable to tell the difference between good quality pieces and low quality, then it is impossible to judge what you could try repairing, and what to leave to professionals. With study and learning over time, you will become better acquainted with the differences.

Henry, It's a little subjective depending on the size of the sword, but in *general* Katana sized fuchi start at 38 mm x 22 mm outside dimension. The larger the dimensions becomes, say, 39 mm x 23.5 mm the more difficult they are to find. The difference in the overall shape of the tsuka is greatly affected by even one half of a millimeter of dimension in either direction, and furthermore determines the tolerances of construction in relation to the nakago. Also, the wall thickness needs to be considered, because even thought the outside dimension may be suitable for the finished handle shape, if the interior dimension is confined due to a thicker wall of material, the tolerances are still diminished. Getting into the dimensions of 37.5 (ha to mune) doesn't necessarily mean it won't fit a katana, and therefore doesn't make it a "wakizashi" sized fuchi by definition, but the handle will have a more petite form, and the nakago will have to be compatibly sized. The abundance of fuchis in the 37.5 mm range or less is somewhat of a testimony (at least to me) of their more common use for wakizashi and tanto by shear body of extant sword sizes. All in all the sword determines the minimum size of fuchi required, and the user determines the maximum dimension for handle profile preferences. Hope this helps.

Cotton ito is available at Namikawa Heibei Shoten and is pretty inexpensive. Wonderful folks to deal with and completely trustworthy. http://www.namikawa-ltd.co.jp/cgi-bin/i ... te=16&no=7

Greetings All, I received this alert this morning. Others may have received the same. Please keep a lookout. Condolences to the owner and best of luck in recovering the sword. swordtang.pdf

Thanks for the link! A couple others let me know about it as well. Cheers!

Very nice set. This more relaxed lifelike style is what I enjoy.

Sure, based on the images (danger danger ) Bizen could be a reasonable choice. The jigane looks hadatachi even a bit whitish (that could be just the lighting though). Maybe Omiya Bizen? Any utsuri in the ji?

Ah, Okay. The lack of actual smiling "smilies" led me astray. Back to topic...

Steve, As they are personal items and not trade goods, you might check to see if you can bring them in on that basis. My experience was with a sale. But your results may vary if they already belong to you. I'd check into it some more before selling them off. Sorry for my lack of reading comprehension to your original post that you were moving there. I got caught up in the thoughts of you buying swords in Japan and having them shipped to Malaysia. Opps! Anyways, check into it first. If a company is moving you there, then perhaps they can help also as part of your relocation plan. If under diplomatic means, perhaps this can benefit you too.

Bwaaaahaaaahaaaaaa!!!!! No, I don't know who George is either, but Ford, this made my morning! Actually, I have the same look on my face when I find a nice tsuba. :lol: Apparently, he's a web designer. Perhaps just forwarding his email to Cyrus or Mike bring some clarity to his use of the images.

Milt, Is it just me, or am I missing something? Maybe there's some rift between you two that's invisable to the rest of us, but.... I can think of many much worse things to accuse a blade's origins of than "Bizen Ichimonji". If the nature of the unpleasantry is invisible to the rest of us, perhaps it should remain so publicly.

Importing swords into Malaysia is not possible in my experience. They are very very strict and will not even accept it under artistic, religious, or ethnographic terms.

Hi Chris, Likewise! Lots of good folks and info here. Enjoy!

Bowhay-san! Yokoso! Good to see you here. Your insights and experiences will be a valuable asset to everyone. I doubt Jon remembers, but I first met him at the last show held in Houston, I think, 1997 or 1998(?), where he did a demonstration of polishing. He was performing hadori on a sword. I'm sure you're re-living some culture shock returning to Colorado after so long. Hope it's not too disturbing. Lord knows the service industries here could take some lessons from those in Japan. Cheers,

All sound advice. It would be prudent to pursue it further. Contact Mr. Bowhay through the PM function of this board and ask him if he'd have a look at it. Gendaito were overlooked for a long time, and many are fantastic works. The fact that you might have a nice example and acquired it a price that could enable you to have it properly restored is all the better. Most times, folks buy into pieces that need restoration at a price that doesn't leave room to spend the money to have the polish done, so they end up going without. Good luck and keep us informed of what happens!

I think you've reached a bit of an impasse in your negotiations, and what I believe what they mean in their statement of; Really is; "When shipping outside Japan, it is not possible to return them for refund. Please understand that under these conditions, the sale is final." The process of import and export of swords in Japan is quite involved and is not a system that lends itself to the kind of "inspection periods" that dealers and collectors outside Japan sometime offer. Given that, many prefer not to ship outside Japan at all. Obviously the best route is to have the blade in hand to make a final decision, but internet shopping doesn't promote that either. Getting an inspection period from someone "just to be sure" is a great thing and really helps solidify your decisions, so you are wise to want them. However, the restrictions and requirements in Japan on shipping simply don't make it easy. I know there are some that will, but the one you are corresponding with obviously has no desire to deal with it. Fair enough, it's a pain in the neck, so not really a bad reflection on the dealer either. I'd agree that Grey is right that price is only something you can determine fair or not. If you've done your "due diligence" by reasearching, shopping around, comparing, studying up, etc., then you can make a better decision. Looking to anyone else to comment favorably on the price for you isn't the best way to qualify your acquisitions. Though you might get some kind of warm fuzzy feeling from a favorable comment, it's certainly not the best way to approach the subject of spending money. What I will say is that there are a lot of decent swords out in the world in this price range, so study, shop around, and buy wisely. If you can get an inspection period with your purchase then great. If you can't, and you're unsure, then move on to something else. There's *always* another sword in the future. Good Luck and Good Hunting!

Thank you Brian for your kind words, and all for your warm welcome. Stephen, thank you for contributing your time and efforts for this long, as you have been here for such a long time. That kind of commitment is admirable and appreciated. I will do my best to help the team and contribute to an already valuable and enjoyable learning place for everyone. Milt, no worries about me wearing a Pickelhaube, Norwegians are more fond of Viking helmets and axes. Yah fur shuur, Youu betcha, by golly! Again, thanks all! Cheers!

Good one Pete! Somebody buy that man some good Sake'. I hear he's been forced to drink that domestic US made plonk.

I'd suspect that it was hammered against the end in an attempt to dislodge the kogatana that was in it. Ignorance of how to remove kogatana probably is a large contributor to this kind of damage. Also, a great number of these were exported in the late 19th century, many of which were put into service as dining utensils with forks, spoons, and knive installed in them. I once had the opportunity to purchase a complete set for service of eight. Many of the kozuka were fantastic pieces and were in remarkably good condition, but it makes me shudder to think of them stacked on top of one another in the storage chest.

Jabba the Hut? :lol: Sorry Dan, I couldn't resist. Looks a bit like Hotei to me.

Milt, here ya go. The fuchi/kashira I mentioned before. Enjoy!

Milt, thanks for sharing. I like this kind of work too. I have Wakizashi koshirae with this style of work in yamagane like your tsuba, but the ground work is different. Sadly, it is missing the tsuba, so it has a contemporary tsuba with sukashi silhouettes of horses I had made. Yours would be nearly a direct match were it not for the ground work. I did have a fuchi and kashira *exactly* like your tsuba at one time that I purchased in Tokyo, but a friend really wanted them so they are hers now. I can probably get an image of them if you like.

Thank you for finding and posting this Ford. I don't have the Peabody or Hartman publications. Just to share a bit more, I have a pair of prints by Sonan Noda that I bought from Rita Benson a few years ago. They were in excellent condition and I just love the simplicity that imparts a flowing, natural movement. Fear not the mounting job they were fitted professionally with proper materials and methods. The mounting and framing were twice the cost of the prints. :-) Sonan Noda favored horses as subject matter. A bit off-topic, but within the scope of stylistic appreciation.

The other side...