Mark S.

I’ll apologize up front if asked or discussed before, but is there a thread or reference that discusses how the metal saya on gunto mounts were formed to match individual swords? Taking into account differences in length, sori (especially when older blades were pressed into service), wood inserts, etc, I’m just wondering if wooden blanks were made and the metal saya fitted around it? Interested in the process. This question popped into my head looking at the recent straight blade gunto and then thinking about the mass quantity and wide variety of metal saya needed that individually had to be ‘custom fit’, especially when it needed to be done quickly due to war-time expediency needs. And as Gunto are not my main area of study, I’m sorry if this is readily available info… I just don’t have much reference materials regarding Gunto. Thanks, Mark

So a little while ago, I purchased a tsuba from a member in Germany. Between DHL and USPS, it took a little over 3 weeks to get to Chicago. I post the following picture to just remind everyone… no matter how well you think you have packaged and protected items you are sending… ADD MORE PROTECTION! Thank goodness the person that sent me the tsuba added extra packing material and all was well. MODS: If this is in wrong section, please feel free to move.

THIS… training in a martial art (especially one with large sharp blades) without being under the watchful eye of a qualified and dedicated instructor can be dangerous… to you, those around you, and the blade. EDIT: I just found the other thread. My comments won’t help… it’s not what you want to hear. I’ll stop.

My initial reaction (and it is only an opinion, I have no references one way or the other to back it up), is that whether or not there were moral and/or superstitious beliefs, that there are always some motivated beyond morals and superstitions when profit is the end goal. There have always been battlefield profiteers, grave/tomb robbers, criminals, dirt-poor peasants trying to survive, etc that are willing to risk punishment and ‘eternal damnation’… whatever their motivations.

A huge sad blow to the Nihonto community. I still remember my first in-person Chicago Shinsa that I submitted a blade to. From a distance, I got to watch Miyano Sensei as he viewed item after item for a while. Even saw him handle my blade. My only thought was that I wished I could have sat behind him and just listened to (and understood) what he was discussing with the other Shinsa members. I could have done that for hours. He will be missed.

Now THAT would be information this group would find VERY interesting.

The hyōshigi is a simple Japanese musical instrument, consisting of two pieces of hardwood or bamboo often connected by a thin ornamental rope. The clappers are played together or on the floor to create a cracking sound. Sometimes they are struck slowly at first, then faster and faster. Also very prevalent in kabuki.

I’m a bit embarrassed to admit it… I feel I barely know anything about blades but I am even more completely mystified by judgment of tsuba. I’ve bought a few that I like based on theme and my personal preference, but I wouldn’t know where to begin to start a ‘proper’ collection.

Good (well… bad) pictures and discussion of use/misuse of uchiko here: https://blog.yuhindo.com/uchiko-considered-harmful/

Some of this conversation reminds me of the back and forth between Hannibal Lecter and Clarice in “Silence of the Lambs” (changed a bit to make relevant… and less creepy): HL: First principles… simplicity… read Marcus Aurelius, “Of each particular thing, ask what is it in itself… what is it’s nature?” What does he do? This man you seek? C: He collects nihonto HL: NO!!! That is incidental. What is the first and principal thing he does? What NEEDS does he serve by collecting? C: Anger?… ummm… social acceptance… HL: NO!!! He COVETS! THAT is his nature. And how do we begin to covet? Do we seek out things to covet? Make an effort to answer now. C: No… we just… HL: No… we begin by coveting what we see every day. Don’t your eyes seek out the things YOU want? C: All right, yes…

Not questioning your decision or saying if you should or shouldn’t buy it because it is your money and YOU are the only one who has to be happy with it… But just some general questions with regard to collecting that we all ask ourselves about any purchase. Why this blade? Why do you like it? Does it speak to you? Have you studied Jumyo and you find this particular smith or time period or school interesting? Does it ‘fit’ into your collection? What will you learn from it? Have you compared it to like/similar blades?

Also an excellent resource: https://markussesko.files.wordpress.com/2015/04/nihontocompendium-e1.pdf

JP, Sometimes it is easier for us to offer grace, peace, and kindness to others as opposed to giving it to ourselves. We carry things around… our burdens, and the burdens of others. We are not good at asking others to help with our burdens though. Please know that this group is here for you and I am sure there are others. As your burdens lighten, come back as you can… there are open arms waiting for you.

Try a read of Darcy’s explanation of daisho to see if that helps. https://blog.yuhindo.com/daisho-and-daishoisnt/

Damn it Jim, I’m a doctor… not @Ford Hallam…

Supporting the ‘local economy’

As always… thank you for the informative and thoughtful response.

Hi Ed, Quick question (and please excuse my ignorance) that has always confused me and steered me away from the boiling process. Many of the ‘processes’ I have read about putting patina on a tsuba (let’s say on a new one) includes a process to cause red rust and then boiling to transform red rust (bad) into black rust (good). Please don’t ask me to explain the chemistry. Anyway… does boiling damage the rust/‘stuff’ inside of sukashi that is supposed to be left alone? Also, what is your view on mitigating red rust inside sukashi? If it is active, won’t it someday eat away the thin sukashi? I know we don’t clean nakago, but some of the views about oiling them are discussed. Thanks, Mark S.

Thanks. I only bid it as a mumei mounted yari, so I figured I would get out bid. Not broken up about it. Just figured I would ask.

I find when I apply oil, no matter how thin a coat I think I put on (usually apply it, even it out, and then wipe it a second time with a new, dry tissue) that I still have to check it the next day and wipe the blade again with a new tissue. The oil seems to ‘bead up’ and needs another wipe to even it out again.

So wondering how bad I screwed up by not bidding high enough??? Yari on local auction site. Naotane??? Gimei or Shoshin? How high would you have bid based on pics? Going rate for a real Naotane yari?

Not sure what it is? I was in a resale shop today and for $3 I felt I should save it! It’s real lacquer but the ravages of time and/or abuse make it probably worth only the $3… but I felt sorry for it and it followed me home. Probably just a touristy piece. Thoughts?

All, I asked Brian to upload an article titled “Swords of the Tea Masters” in pdf format. It was in a periodical called “Chanoyu Quarterly” which is now out of print. While not in-depth Nihonto info and written more for a tea ceremony practitioner audience, some might still enjoy the read. You will find it in the ‘download’ section. Hope you will find it interesting. Mark S.

I didn’t want to state the obvious so as not to come across as talking down to the OP, but now that it has been mentioned… you usually (unless very loose) DO need to hold the button down when trying to remove the blade. It may be the reason the tsuba is loose and you hear the rattling noise, but blade is not coming out?

A long time ago I heard about ‘face oil’ used on iron tsuba which I have used with some success. I do the same for nakago each time before putting a blade away. I give a quick wipe of my fingers across forehead and on either side of nose and gently rub on nakago. Seems to work nicely. People’s body chemistry varies, so your mileage may vary.